DOCSLIB.ORG

12. Bis 28. Juni 2009

Total Page：16

File Type：pdf, Size：1020Kb

Download full-text PDF Read full-text
12. Bis 28. Juni 2009 12. bis 28. Juni 2009 Neuer Garten erbaut 1791 bis 1793 Palmensaal Konzertsaal FriedrichWilhelms II. Veranstalter Musikfestspiele Sanssouci Liebe Gäste, Dear guests und Nikolaisaal Potsdam gGmbH die Liebe zum Violoncello und seine be- The fact that King Friedrich Wilhelm II achtlichen Fertigkeiten auf diesem In- of rising Prussia not only loved the vio- in Zusammenarbeit mit der strument machen Friedrich Wilhelm II., loncello but also possessed great skills den König des aufstrebenden Preußen, as a violoncellist himself won him the für Euro pas Komponisten hochinteres- attention of composers all over Euro- sant. 1787 widmet ihm Joseph Haydn, pe. In 1787 Joseph Haydn, then Prince Kapellmeister in fürstlich-esterházyschen Esterházy’s court composer, dedicates Diensten, seine sechs »Preußischen Quar- his six »Prussian Quartets« op. 50 to tette« op. 50. Es ist wahrscheinlich, dass the king in Prussia. We can assume the der König dem musikalischen Geschenk king listened to the pieces in his newly dann in seinem neu erbauten Kammer- built concert hall for chamber music: the musiksaal lauschte, dem Palmensaal der Palm Hall in the Orangery Palace in the Gefördert durch Orangerie im Neuen Garten. New Garden. die Landeshauptstadt Potsdam das Ministerium für Wissenschaft, Forschung Dass Haydn in seinem Opus 50 dem The special attention he paid to the cel- und Kultur des Landes Brandenburg Cello ein besonderes Gewicht gab und lo in his opus 50 was an homage to the das Ministerium für Infrastruktur und Raumordnung des Landes Brandenburg damit erstmals alle Stimmen wie gleich- Prussian king. As it was the first time mit Mitteln des Hauptstadtvertrages berechtigte Solisten behandelte, war that all instruments were treated with eine Hommage an den preußischen Kö- equal importance like soloists, it was Mit freundlicher Unterstützung nig, zugleich aber auch ein Meilenstein also a milestone in the development of Österreichisches Kulturforum Berlin in der Entwicklung des Streichquartetts, the string quartet often referred to as Potsdamer Rex Pils Haydns »eigener« Gattung, und der neu- Haydn’s »very own« genre and the new Potsdamer Neueste Nachrichten en Tonsprache der Wiener Klassik. tonal language of Viennese classicism. Audi Vertriebsbetreuungsgesellschaft mbH Deutsche Bank AG Zum Jubiläum 2009 erleben Sie während During Musikfestspiele Potsdam Sans- Gegenbauer Holding SA & Co. KG der diesjährigen Musikfestspiele, dass souci in his anniversary year you will Seminaris SeeHotel Potsdam Joseph Haydn viel zu lange im Schatten experience that Joseph Haydn has been Steigenberger Hotel Sanssouci seiner Kollegen Mozart und Beethoven clouded by his colleagues Mozart and Kongresshotel am Templiner See gestanden hat. Sie haben die Chance, Beethoven for far too long. Rediscover Hotel Bayrisches Haus aus seinen Augen das 18. Jahrhundert the 18th century through his eyes and outfit Außenwerbung als eine Epoche der Neugier und des Auf- let us take you to an age when the world primeline.Werbemedien bruchs neu zu entdecken – eben »Haydns was full of curiosity and change – let us Seipt. Media Welt«. take you to »Haydn’s World«. Kulturradio des rbb rbb Fernsehen Antenne Brandenburg Unser besonderer Dank gilt der großar- May we express our gratitude to thank our Deutschlandradio Kultur tigen materiellen und ideellen Unter- supporters, our sponsors and our friends Förderverein Pfingstberg in Potsdam e.V. stützung unserer Förderer, Sponsoren for their magnificent contributions and Sixt Autovermietung Potsdam, Agentur Eiselt/Jahn GmbH und Freunde. their tremendous help and support. KPM Königliche Porzellan-Manufaktur Berlin GmbH K&K Event potsdam GmbH Seien Sie uns in Potsdam Sanssouci A very warm welcome to Förderverein der Musikfestspiele Potsdam Sanssouci e.V. herzlich willkommen. Potsdam Sanssouci. Ihre Yours Dr. Andrea Palent Prof. Dr. Hartmut Dorgerloh Künstlerische Leiterin Generaldirektor und Geschäftsführerin der der Stiftung Preußische Schlösser Musikfestspiele Potsdam Sanssouci und Gärten Berlin-Brandenburg Artistic and Managing Director General Director of the Prussian Palaces of the Potsdam Sanssouci Music Festival and Gardens Foundation Berlin-Brandenburg 1 2 Freitag Kirchenkonzert OpenAir im Schlosspark Freitag 12. Juni Friedenskirche Terrassen Orangerie Sanssouci 12. Juni 19.00 Uhr Sanssouci Maulbeerallee 22.00 Uhr EröffnungskonzErt All’ungArEsE Musik als edles Tagewerk: Sonnenaufgang bei den Esterházy Ein Feuerwerk ungarischer Lebenslust: Klassik(er) mit Pep und Paprika Joseph Haydn (1732-1809) Berühmter Sohn eines berühmten Vaters: Stargei- A famous son of a famous father: Die »Tageszeiten«-Sinfonien (1761): ger Joszef Lendvay trifft vor der beeindruckenden star violinist Joszef Lendvay meets the Sinfonie D-Dur Hob.I:6 »Le Matin« Kulisse der Orangerie Sanssouci auf die Branden- Brandenburg Symphonic Orchestra in burger Symphoniker. Ein Open Air mit Spielfreude, an impressive setting: Orangery Palace Gregor Joseph Werner (1693-1766) Leidenschaft und einer Prise Paprika! Sanssouci. An open-air concert packed aus: »Neuer und sehr curios-musicalischer with spirited performances, passion and ci ANSSOU Instrumental-Calender« (1748) Joseph Haydn (1732-1809) a pinch of pepper. (see also No. 6) »Juni« für Streicher und Basso continuo Rondo all’ungarese für Klavier und Orchester Klavierkonzert D-Dur, Hob.XVIII:11 Joseph Haydn Vivace – Un poco adagio – Rondo all’ungarese S Friedenskirche Friedenskirche Sinfonie C-Dur Hob.I:7 »Le Midi« Vittorio Monti (1868-1922) Czárdás für Violine und Zimbalon Gregor Joseph Werner Johannes Brahms (1833-1897) Renowned Italian ensemble Il Giardino »August« für Streicher und Basso continuo Ungarische Tänze für Orchester (Auswahl) Armonico, true stars of early music, Pablo de Sarasate (1844-1908) dedicate their talents to the young com- Joseph Haydn Zigeunerweisen poser working at the Esterházy court. Sinfonie G-Dur Hob.I:8 »Le Soir« Zoltan Kodály (1882-1967) Three early symphonies, »Morning«, Intermezzo für Zimbalon und Orchester »Noon« and »Evening«, celebrate (aus: »Háry-János-Suite«) the age of enlightenment’s joy of il GiArDiNO ArmonicO Johannes Brahms rationally arranging the world into Musikalische Leitung: Giovanni Antonini Rondo alla Zingarese: Presto space and time. Their counterparts are chamber concerts from the »Musical Das renommierte italienische Ensemble Il Giardi- Joszef lendvay, Violine Instrumental Calendar« by Haydn’s pre- no Armonico, wahre Stars der Alten Musik, wid- Michael leontchik, Zimbalon decessor and rivalling colleague Gregor met sich dem jungen Komponisten am Hof der Oliver Triendl, Klavier Joseph Werner. His pieces illustrate and Esterházy. Drei frühe Sinfonien, die dem Gang characterize the months in late-baroque der Tageszeiten Morgen, Mittag und Abend ge- BrandenburGer SyMPHONiKer style. It’s old and new, a clash between widmet sind, entspringen der Freude der Aufklä- Musikalische Leitung: Michael Helmrath illustration and the early classical rung an der rationalen Unterteilung der Welt in interest in feeling. Raum und Zeit. Ihnen sind Kammerkonzerte aus Feuerwerk: Olaf Gödeke dem »Musicalischen Instrumental-Calender« von Technik: Marc Mattukat, aem Potsdam Haydns Vorgänger und rivalisierendem Kollegen (siehe Konzert 6) Gregor Joseph Werner gegenübergestellt, die noch in spätbarocker Manier die Monate und ihre typischen Charakteristiken zeichnen. Alt und Neu, Illustration und frühklassisches Interesse an der Empfindung prallen aufeinander. Förderverein der Musikfestspiele Potsdam Sanssouci e.V. Giovanni Antonini 3 4 Sonnabend Schlosskonzert Kirchenkonzert Sonnabend 13. Juni Palmensaal Friedenskirche 13. Juni 17.00 Uhr Neuer Garten Sanssouci 19.00 Uhr klAssische imprEssionEn HAllElujA! Neues Licht auf Haydns Streichquartette! Pomp and Circumstance: Haydn und die englische Chortradition Joseph Haydn (1732-1809) Henry Purcell (1659-1695) Streichquartett D-Dur op. 71, Hob.III:70 »My beloved spake« (Verse Anthem), Z28 Georg Friedrich Händel (1685-1759) claude Debussy (1862-1918) »Blessed are they that considereth the poor«, Streichquartett a-moll op. 10 HWV268 (Foundling Hospital Anthem) Joseph Haydn (1732-1809) Maurice ravel (1875-1937) Missa in angustiis d-moll, Hob.XXII:11 Streichquartett F-Dur (»Nelson-Messe«) Palmensaal Neuer Garten Neuer Palmensaal Quatuor eBèNe liesbeth Devos, Sopran | renata Pokupic, Alt Pierre colombet, Violine John Mark Ainsley, Tenor | christopher Purves, Bass Gabriel le Magadure, Violine Mathieu Herzog, Viola Chor und Orchester der raphael Merlin, Violoncello AcADeMy OF ANcient MUSic Musikalische Leitung: richard egarr Die Reibereien zwischen den Erzrivalen Frankreich und Deutschland erfassen im 19. Jahrhundert alle 18.00 Uhr, Kaminzimmer der Superintendentur Haydn is completely overwhelmed: In Bereiche. Auf der Suche nach musikalischen Vor- Einführung: richard egarr im Gespräch London he witnesses the musical sump- bildern werden Impressionisten wie Claude De- mit carsten Hinrichs tuousness staged by the citizens of the bussy – vorbei am titanischen Stil Beethovens und empire to commemorate Handel, »their« dem Pathos Wagners – fündig bei Joseph Haydn. Haydn ist völlig überwältigt: In London ist er Zeuge great composer. Handel in turn had Sie lieben die leichten, lichtdurchfluteten Struk- des musikalischen Aufwands, mit dem Bürger des studied Henry Purcell who in his church turen seiner Streichquartette, erhellt von Geis- Empires »ihres« großen Händel gedenken. Eine music had been the first to combine tesblitzen und durchströmt von Herzenswärme. Aufführung des »Messiah«
Load more

Recommended publications
  • Global Austria Austria’S Place in Europe and the World
    Global Austria Austria’s Place in Europe and the World Günter Bischof, Fritz Plasser (Eds.) Anton Pelinka, Alexander Smith, Guest Editors CONTEMPORARY AUSTRIAN STUDIES | Volume 20 innsbruck university press Copyright ©2011 by University of New Orleans Press, New Orleans, Louisiana, USA. All rights reserved under International and Pan-American Copyright Conventions. No part of this book may be reproduced or transmitted in any form or by any means, electronic or mechanical, including photocopy, recording, or any information storage and retrieval system, without prior permission in writing from the publisher. All inquiries should be addressed to UNO Press, University of New Orleans, ED 210, 2000 Lakeshore Drive, New Orleans, LA, 70119, USA. www.unopress.org. Book design: Lindsay Maples Cover cartoon by Ironimus (1992) provided by the archives of Die Presse in Vienna and permission to publish granted by Gustav Peichl. Published in North America by Published in Europe by University of New Orleans Press Innsbruck University Press ISBN 978-1-60801-062-2 ISBN 978-3-9028112-0-2 Contemporary Austrian Studies Sponsored by the University of New Orleans and Universität Innsbruck Editors Günter Bischof, CenterAustria, University of New Orleans Fritz Plasser, Universität Innsbruck Production Editor Copy Editor Bill Lavender Lindsay Maples University of New Orleans University of New Orleans Executive Editors Klaus Frantz, Universität Innsbruck Susan Krantz, University of New Orleans Advisory Board Siegfried Beer Helmut Konrad Universität Graz Universität
    [Show full text]
  • Erich Korngold's Discursive Practices: Musical Values in the Salon Community from Vienna to Hollywood
    University of Tennessee, Knoxville TRACE: Tennessee Research and Creative Exchange Masters Theses Graduate School 8-2016 Erich Korngold's Discursive Practices: Musical Values in the Salon Community from Vienna to Hollywood Bonnie Lynn Finn University of Tennessee, Knoxville, [email protected] Follow this and additional works at: https://trace.tennessee.edu/utk_gradthes Part of the Musicology Commons Recommended Citation Finn, Bonnie Lynn, "Erich Korngold's Discursive Practices: Musical Values in the Salon Community from Vienna to Hollywood. " Master's Thesis, University of Tennessee, 2016. https://trace.tennessee.edu/utk_gradthes/4036 This Thesis is brought to you for free and open access by the Graduate School at TRACE: Tennessee Research and Creative Exchange. It has been accepted for inclusion in Masters Theses by an authorized administrator of TRACE: Tennessee Research and Creative Exchange. For more information, please contact [email protected]. To the Graduate Council: I am submitting herewith a thesis written by Bonnie Lynn Finn entitled "Erich Korngold's Discursive Practices: Musical Values in the Salon Community from Vienna to Hollywood." I have examined the final electronic copy of this thesis for form and content and recommend that it be accepted in partial fulfillment of the equirr ements for the degree of Master of Music, with a major in Music. Rachel M. Golden, Major Professor We have read this thesis and recommend its acceptance: Leslie C. Gay Jr., Victor Chavez Accepted for the Council: Carolyn R. Hodges Vice Provost and
    [Show full text]
  • Johann Strauss II's Die Fledermaus: Historical Background and Conductor's Guide
    The University of Southern Mississippi The Aquila Digital Community Dissertations Fall 2019 Johann Strauss II's Die Fledermaus: Historical Background and Conductor's Guide Jennifer Bruton University of Southern Mississippi Follow this and additional works at: https://aquila.usm.edu/dissertations Part of the Music Performance Commons Recommended Citation Bruton, Jennifer, "Johann Strauss II's Die Fledermaus: Historical Background and Conductor's Guide" (2019). Dissertations. 1727. https://aquila.usm.edu/dissertations/1727 This Dissertation is brought to you for free and open access by The Aquila Digital Community. It has been accepted for inclusion in Dissertations by an authorized administrator of The Aquila Digital Community. For more information, please contact [email protected]. JOHANN STRAUSS II’S DIE FLEDERMAUS: HISTORICAL BACKGROUND AND CONDUCTOR’S GUIDE by Jennifer Jill Bruton A Dissertation Submitted to the Graduate School, the College of Arts and Sciences and the School of Music at The University of Southern Mississippi in Partial Fulfillment of the Requirements for the Degree of Doctor of Musical Arts Approved by: Dr. Jay Dean, Committee Chair Dr. Joseph Brumbeloe Dr. Gregory Fuller Dr. Christopher Goertzen Dr. Michael A. Miles ____________________ ____________________ ____________________ Dr. Jay Dean Dr. Jay Dean Dr. Karen S. Coats Committee Chair Director of School Dean of the Graduate School December 2019 COPYRIGHT BY Jennifer Jill Bruton 2019 Published by the Graduate School ABSTRACT Students pursuing graduate degrees in conducting often have aspirations of being high school or college choir or band directors. Others want to lead orchestra programs in educational or professional settings. Sadly, many colleges and universities do not have systems in place that provide avenues for those choosing this career path.
    [Show full text]
  • The Jazz and Improvised Music Scene in Vienna After Ossiach (1971-2011)
    City University of New York (CUNY) CUNY Academic Works All Dissertations, Theses, and Capstone Projects Dissertations, Theses, and Capstone Projects 2013 Free from Jazz: The Jazz and Improvised Music Scene in Vienna after Ossiach (1971-2011) Thomas Albert Zlabinger Graduate Center, City University of New York How does access to this work benefit ou?y Let us know! More information about this work at: https://academicworks.cuny.edu/gc_etds/1684 Discover additional works at: https://academicworks.cuny.edu This work is made publicly available by the City University of New York (CUNY). Contact: [email protected] FREE FROM JAZZ: THE JAZZ AND IMPROVISED MUSIC SCENE IN VIENNA AFTER OSSIACH (1971-2011) by THOMAS ALBERT ZLABINGER A dissertation submitted to the Graduate Faculty in Music in partial fulfillment of the requirements for the degree of Doctor of Philosophy, The City University of New York 2013 ii 2013 THOMAS ALBERT ZLABINGER All Rights Reserved iii This manuscript has been read and accepted for the Graduate Faculty in Music in satisfaction of the dissertation requirement for the degree of Doctor of Philosophy. Prof. Jeffrey Taylor Date Chair of Examining Committee Prof. David Olan Date Executive Officer Prof. Peter Manuel Prof. Stephen Blum Prof. Reinhold Wagnleitner (Universität Salzburg) Supervisory Committee THE CITY UNIVERSITY OF NEW YORK iv ABSTRACT Free from Jazz: The Jazz and Improvised Music Scene in Vienna after Ossiach (1971-2011) by Thomas Albert Zlabinger Advisor: Prof. Peter Manuel Focusing on a diverse and eclectic scene that is under-documented, this dissertation investigates the historical, social, and cultural aspects of jazz and improvised music in Vienna over the last four decades.
    [Show full text]
  • Art Nouveau and the Symphony During the Fin-De-Si¿¿¿¿ Cle: The
    Art Nouveau and the Symphony during the Fin-de-Siècle: The Intersection of the Arts in Paris and Vienna A Document Submitted to the Graduate School of the University of Cincinnati in partial fulfillment of the requirements for the degree of DOCTOR OF MUSICAL ARTS in the Division of Ensembles and Conducting of the College-Conservatory of Music By Christopher Hill M.M., University of Michigan, Orchestral Conducting (2005) B.M., Michigan State University, Double Bass Performance (2001) Advisor: Prof. Mark Gibson Reader: Dr. Jeongwon Joe Reader: Dr. Jonathan Kregor ii ABSTRACT This interdisciplinary document examines the intersection of art and music during the fin-de- siècle in Paris and Vienna, with particular emphasis on the convergence of Art Nouveau with the symphonic genre. It relates the more fluid Art Nouveau of Paris with the more geometric Jugendstil and Sezessionstil styles of Art Nouveau that emerged in Vienna, and explores the reciprocal influence of each in the development of the symphony during the fin-de-siècle. Four symphonic works that span the height of the Art Nouveau era are examined in detail, including the Symphony in B-flat major (1890) by Ernest Chausson (1855–1899), the Symphony No. 3 in B-flat major (1897) by Alexander von Zemlinsky (1871– 1942), the Symphony No. 2 in B-flat major (1902–3) by Vincent d’Indy (1851–1931), and the Symphony No. 7 (1904–5) by Gustav Mahler (1860–1911). Through an analysis of the shared Art Nouveau characteristics of each, a new lens for understanding and contextualizing these works is proposed.
    [Show full text]
  • Season 2015-2016
    23 Season 2015-2016 Wednesday, January 13, at 8:00 The Philadelphia Orchestra Friday, January 15, at 2:00 Saturday, January 16, at 8:00 Yannick Nézet-Séguin Conductor Jan Lisiecki Piano J. Strauss, Jr. “Tales from the Vienna Woods” Waltz, Op. 325 Beethoven Piano Concerto No. 4 in G major, Op. 58 I. Allegro moderato II. Andante con moto— III. Rondo: Vivace Intermission Beethoven/ String Quartet No. 11 in F minor, Op. 95 arr. Mahler (“Serioso”) I. Allegro con brio II. Allegretto ma non troppo— III. Allegro assai vivace ma serioso IV. Larghetto—Allegretto agitato First Philadelphia Orchestra performances Gruber Charivari, an Austrian Journal for Orchestra First Philadelphia Orchestra performances This program runs approximately 2 hours. The January 13 concert is sponsored by the Hassel Foundation. The January 16 concert is sponsored by Carole and Emilio Gravagno. Philadelphia Orchestra concerts are broadcast on WRTI 90.1 FM on Sunday afternoons at 1 PM. Visit WRTI.org to listen live or for more details. 224 Story Title The Philadelphia Orchestra Jessica Griffin The Philadelphia Orchestra Orchestra also reaches Carnegie Hall and the is one of the preeminent thousands of listeners on the Kennedy Center while also orchestras in the world, radio with weekly Sunday enjoying summer residencies renowned for its distinctive afternoon broadcasts on in Saratoga Springs, New sound, desired for its WRTI-FM. York, and Vail, Colorado. keen ability to capture the Philadelphia is home and The Philadelphia Orchestra hearts and imaginations the Orchestra nurtures an of audiences, and admired serves as a catalyst for important relationship with for a legacy of imagination cultural activity across patrons who support the and innovation on and off Philadelphia’s many main season at the Kimmel the concert stage.
    [Show full text]
  • Design, Sound and Compositional Aesthetic: the Grand Piano in Late Eighteenth-Century London and Vienna
    Edith Cowan University Research Online Theses : Honours Theses 2021 Design, sound and compositional aesthetic: The grand piano in late eighteenth-century London and Vienna Izaac Masters Follow this and additional works at: https://ro.ecu.edu.au/theses_hons Part of the Other Music Commons This Thesis is posted at Research Online. Edith Cowan University Copyright Warning You may print or download ONE copy of this document for the purpose of your own research or study. The University does not authorize you to copy, communicate or otherwise make available electronically to any other person any copyright material contained on this site. You are reminded of the following: Copyright owners are entitled to take legal action against persons who infringe their copyright. A reproduction of material that is protected by copyright may be a copyright infringement. Where the reproduction of such material is done without attribution of authorship, with false attribution of authorship or the authorship is treated in a derogatory manner, this may be a breach of the author’s moral rights contained in Part IX of the Copyright Act 1968 (Cth). Courts have the power to impose a wide range of civil and criminal sanctions for infringement of copyright, infringement of moral rights and other offences under the Copyright Act 1968 (Cth). Higher penalties may apply, and higher damages may be awarded, for offences and infringements involving the conversion of material into digital or electronic form. DESIGN, SOUND AND COMPOSITIONAL AESTHETIC: THE GRAND PIANO IN LATE EIGHTEENTH-CENTURY LONDON AND VIENNA This thesis is presented in partial fulfilment of the Bachelor of Music Honours Izaac Masters SUPERVISORS Prof.
    [Show full text]
  • Johann Strauss and Vienna Operetta and the Politics of Popular Culture
    Johann Strauss and Vienna Operetta and the Politics of Popular Culture Camille Crittenden The Pitt Building, Trumpington Street, Cambridge, United Kingdom The Edinburgh Building, Cambridge , UK www.cup.cam.ac.uk West th Street, New York, –, USA www.cup.org Stamford Road, Oakleigh, Melbourne , Australia Ruiz de Alarcón , Madrid, Spain © Camille Crittenden This book is in copyright. Subject to statutory exception and to the provisions of relevant collective licensing agreements, no reproduction of any part may take place without the written permission of Cambridge University Press. First published Printed in the United Kingdom at the University Press, Cambridge Typeface Monotype Dante ./ pt. System QuarkXPress™ [] A catalogue record for this book is available from the British Library hardback CONTENTS List of illustrations page vi Acknowledgments vii List of abbreviations and short titles viii Introduction The birth of a genre Creators and performers of Viennese operetta “Austria personified”: Strauss and the search for Viennese identity From ballroom to theater: musical style and Indigo und die vierzig Räuber Die Fledermaus and the illusion of carnival in Vienna Austro-Hungarian relations and Der Zigeunerbaron Waltzing Brünnhilde: Zukunftsmusik and Viennese operetta Epilogue Appendix: synopses Notes Select bibliography Index v ILLUSTRATIONS . Charlotte Wolter, Prime Minister Beust, Marie Geistinger (Kikeriki, March ) page . Women’s chorus dressed as men, representatives filing in to Parliament (Kikeriki, December ) . Strauss in Parliament (Kikeriki, December ) . Premiere of Prinz Methusalem (Kikeriki, January ) . Beethoven and Suppé (Kikeriki, February ) . Eduard Strauss and Richard Wagner (Kikeriki, February ) . Alexander Girardi as Zsupán, (Historisches Museum der Stadt Wien) . Hungarian and Austrian soldiers (Der Floh, August ) . Wagner’s arrival in Vienna (Der Floh, May ) .
    [Show full text]
  • Canadian Art Students Respond to Klimt and Schiele
    No. 1/2002 CULTURE CANADIAN ART STUDENTS RESPOND TO KLIMT AND SCHIELE One of the undoubted cultural in Edmonton from August 3 to 12, ingly recognized. As a result, the Ca- highlights of Canada in the year 2001 2001. The final engagement was at nadian Centre for Austrian and Cen- was the first major North Amer-ican the CityScape Community Art Space tral European Studies decided to Gustav Klimt retrospective held at the and at the Bel Art Gallery of North Van- sponsor two competitions, one in Al- National Gallery of Canada from June couver from October to December. At to September. As reported by Oe Cul- each of these venues, a series of spe- ture (2001/2), in order to give this cial opening lectures on different as- unique event in our national capital as pects of the work of Gustav Klimt by much profile as possible, the Cana- Professor Franz Szabo, the Director of the Canadian Centre for Austrian and Central European Studies and one of Canada's leading Austrian cul- tural historians, were held. Caitlin Wells, University of Alberta, Depart-ment of Art and Design. berta and one in British Columbia, Jane MacVicar of Port Moody, B.C. First prize in the British Columbia Competition. challenging art students to produce works of their own "in response to dian Centre for Austrian and Central Klimt and Schiele." European Studies of the University of Three winning entries were se- Alberta, with the assistance of the Aus- lected by specially designated juries trian Cultural Forum in Ottawa, ar- in each province, and an additional prize was sponsored in Edmonton by ranged to bring two travelling exhibi- Dara Humniski, University of Alberta, Depart- tions of facsimile drawings by Gustav ment of Art and Design.
    [Show full text]