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Home , Alexander Frey, Die heilige Ente, Egon Wellesz, Erich Zeisl, Georg Tintner, Hugo Kauder

10 YEARS OF

2006-2016 Mission Statement

Austria was the home of many of Hitler’s most important musical victims, the best known of whom, such as Arnold Schönberg and , have already become established culturally historic figures. Yet others still await their discovery or, more often, their re-discovery. Gaping holes exist where they have not been incorporated into rightful positions within Austrian or performance-practice. exil.arte operates as a center for the reception, preservation and research of Austrian , performers, librettists and lyricists, musical academics and music executives who, during the years of the “Third Reich” were branded as “degenerate”. Only within recent decades has started to address this issue. The assessment and restitution of such a multi- facetted cultural inheritance, extending from the 19th century through operetta, film music and “chanson”, cabaret, and the developments of the “”, “Jugendstil”, “New Objectivity” and much more is an enormous, multi- © Georg Vlaschits, Jonathan Vaughan disciplinary undertaking. exil.arte’s purpose is to “The society exil.arte lets us hear voices again that were restore these important silenced, bringing music that was brutally suppressed to missing links to the chain our ears – and thereby also to our heart.“ of Austrian music-history.

Thomas Angyan © Bank Austria Artistic director of the Gesellschaft der Musikfreunde in , quoted from his laudation at the awarding of the 2010 Univ.-Prof. DDr.h.c. Gerold W. Gruber, Bank Austria International Art Prize to exil.arte initiator and founder of exil.arte, chairman and chief scientist; executive producer of the exil.arte records. University of Music and Performing Arts Vienna. 2 2006

To mark the establishment of exil.arte, a Foundation Concert in the Haus der Musik was held on November 14. Martin Schwab, known for his work at the Burgtheater, spoke about the compositions of Marc Neikrug, who wrote Through Roses, an ensemble piece for small , about a violinist in Auschwitz. The also conducted the piece at the event. The concert additionally featured a dance performance with Edward Arckless and musical performances with Mary Lou Sullivan, Sigrid Jennes-Müller of works by both Neikrug and Erich Wolfgang Korngold. Moreover, that day marked the 100th birthday of Alma Rosé, who led the women’s orchestra in Auschwitz. Finally, in its first year,exil.arte received its first subsidy grant from the National Fund of the Republic of Austria. Gerold Gruber, founder of exil.arte invited recording producer, Director of Research at London University‘s International Centre for Suppressed Music and music curator at Vienna‘s Jewish Museum, Michael Haas, to join him as exil.arte co-chairman. 2006 Vienna’s Jewish Museum mounted an exhibition on .

Mary Lou Sullivan-Delcroix Alma Rosé

4 © Haus der Musik 5 films and in 1935 signed a contract with Warner Brothers, leading him to compose scores for such films as Errol Erich Wolfgang Flynn’s Captain Blood and Anthony Adverse, for which he won an Oscar. 29 May 1897 – 29 November 1957 Erich Wolfgang Korngold was born Korngold continued to write film Korngold in present day Brno, scores, symphonic and chamber and moved to Vienna at the age of music, and his up four. He wrote his first composition until the Anschluss, at which point at the age of eight and was hailed he moved his family to America early on as a child prodigy by and vowed not to write any more musical greats such as Gustav music intended for the concert Mahler and . In 1916 hall or opera house until Hitler was at the age of nineteen, young removed from power. He used his Korngold became a well-known income to support friends and other opera composer with the success of refugees from . Along with Der Ring des Polykrates and Violanta, , Korngold created a new two one-act , and in 1920, his standard for film music, making the opera one of German score a part of the story itself. Once opera‘s biggest interwar successes, the war was over, he attempted making it all the way to ‘s to return to the world of absolute both © The Korngold Estate . He continued concert music, infusing his new 1947 his successful career as an arranger cinematic style into his compositions. he left the studios as soon after the of operettas by Strauss and Leo Unfortunately, by the time Korngold war as contractually possible. His Fall while composing his opera Das was able to return to his native concert works are overshadowed by Wunder der Heliane, which clashed Austria in 1949, musical taste had the Hollywood scores. Still, today’s sensationally with ‘s moved past the composer’s work. quintessential cinematic sound jazz opera Jonny spielt auf during His concerts were met with crushing evolved without question from the season at Vienna‘s opera of reviews, leaving the composer Korngold’s contributions. 1927/28. In 1929, Korngold began feeling unappreciated and forgotten collaborating with Max Reinhardt, in his homeland. Today, Korngold is Drawing from the website who convinced the composer remembered for his work as a film filmmusik.exilarte.at to join him in Hollywood in 1934. composer, even though it was never with information about the film music 6 around 1909 Korngold began writing music for what he truly wanted to do and composer Erich Wolfgang Korngold. 7 2007 8 August 1890 – 3 October 1987 Hans Gál The first full year of the organization gave rise to eleven major Hans Gál was a composer and concerts, including four at the Haus der Musik. October 19 musicologist who studied in Vienna marked the first concert with works by Hans Gál and Michael under Eusebius Mandyczewski and Graubart performed by flutist Ulrike Anton and Russell . Gál lectured at the Ryan. Composer Michael Graubart, who was forced to flee from from 1919-29 Vienna to London in 1938, was also present at this concert. Since before becoming director of the then works by Gál and Graubert have been featured numerous Mainz Conservatory, remaining there times by exil.arte. On November 25, exil.arte hosted a matinee until 1933 when he returned to honoring Erich Wolfgang Korngold, which marked the first time Vienna. His opera Die Heilige Ente, that film music had been discussed in relation to émigrés, and or The Sacred Duck, enjoyed an which later inspired exil.arte’s film music symposia series in 2009. uninterrupted run in ’s most Michael Haas, exil.arte‘s co-chairman continued his series of important opera houses from the exhibitions on Austrian composers banned by the III Reich, which date of its premiere in 1923 until its already included exhibitions on Hans Gál, Egon Wellesz, Franz removal by the Nazis in 1933. After Schreker and Erich Zeisl with an exhibition at Vienna‘s Jewish the Anschluss, he fled to Great Museum on Erich Korngold, attracting some 45,000 visitors. On Britain. Gál taught at the University of November 30, exil.arte presented a concert with music by Erich Edinburgh from 1945-65. Of his over Zeisl, at which his daughter was interviewed about her remarkable 100 works, more than half of them father. This year, exil.arte received three subsidy grants from the were written in Scotland. Though Gál National Fund of the Republic of Austria, the Jewish Museum was a famous composer throughout Vienna, and the Future Fund of the Republic of Austria. the 1920s and 30s, once he fled Austria his work was almost forgotten. Through the production of CDs and concerts, exil.arte has increased the

profile of Gál thus making the music Eva Fox-Gál © Archiv world aware of his work and

© Haus der Musik significance. Whenexil.arte opens its Hans Gál in Mainz, ca. 1930 Center in the fall, the entirety of Gál’s Wilhelm Sinkovicz, Alexander Frey, , Michael Haas, Brendan G Carroll, musical heritage will be donated to Gerold W. Gruber. Round table at the matinée in honor of Erich Wolfgang Korngold the organization. 8 in the presence of the composer‘s grandchildren. Haus der Musik, Vienna. 9 Erich Zeisl Stories 18 May 1905 – 18 February 1959 period was in the composition Erich Zeisl was a composer and of Lieder, where he successfully pianist. He studied composition established himself among the under Richard Stöhr, , circle of moderate advocates of In order for many to obtain a visa to flee the Nazis and escape to the US, and . Zeisl‘s specialty Vienna Modernism. In November they needed an American citizen to sign an affidavit stating that the refugees in Vienna during the interwar 1938, he fled to and went into would be supported in the states. Erich Zeisl’s father knew of no relations exile in New York. He was lured to the family had in America, so his wife, Trude, found a phone Hollywood in 1941 and settled on the book in Paris and wrote every Zeisl listed. Finally, one Plb. Zeisl agreed to sign West Coast of America, where he the family’s affidavit to allow them to flee. Upon arriving in the US, the family worked as a composer and arranger. went to visit their helper. The initials before his name in the phone book led He was in many ways the other them to believe he was a professor of some kind. When they found his house, face of immigrant life in Hollywood, they discovered he was a simple plumber of no relation to the family. Still, he participating in countless important saved the Zeisls from falling into the hands of the Nazis. films but never receiving credit as a composer. Like Korngold, he left studio work as soon after the war as possible and started teaching in 1946 at the Southern California School of Music and Arts and after 1949 at City College. Zeisl specialized in writing Lieder while living in Vienna, but according to his daughter he was never able to continue with this genre in America. He needed the atmosphere of Vienna to inspire him, felt most at

© www.zeisl.com Drawing from the website home setting the German language filmmusik.exilarte.at to music, and he hated not being in with information about the film his homeland. Zeisl never returned music composer Erich Zeisl to Vienna. 10 Barbara Zeisl-Schönberg, 2011 11 2008 In January, exil.arte started the year by participating in an international conference of organizations recovering banned music meeting in Paris. The conference was called “Ostracized Music,” and resulted of increased collaboration with Voix Etouffées (Silenced Voices) Paris and the Ostracized Music Center Rostock. Later in the year, this partnership resulted in “Ostracized Music” concerts in Schwerin, Germany and at the Jewish Museum Vienna. Other events this year included a concert and photo exhibition at the Jewish Museum Vienna featuring Walter Arlen and a few days later a rehearsal with Arlen himself, President of Austria’s Parliament, Barbara Prammer, and the Youth Orchestra of Werkskapelle, at which Arlen’s works were played and heard in public for the first time. These events marked the beginning of the “Walter Arlen” project, at which Arlen spoke for the first time about his experience. Moreover, 2008 marked the beginning of a rich and productive friendship between exil.arte and Barbara Prammer. She remained a firm supporter ofexil.arte , appearing at many events until her death in 2014. The organization received once again subsidy grants from the National Fund of the Republic of Austria in addition to the Rothschild Foundation.

Barbara Prammer, President of

the Austrian Parliament with both © Parliament Vienna Walter Arlen at a rehearsal of

12 © exil.arte his compositions in Gmunden. Tag der Vertriebenen, Parlament Wien 13 Robert Fürstenthal Walter Arlen 1920 – Present 31 July 1920 – Present Robert Fürstenthal was born in Walter Arlen (Aptowitzer at birth) Vienna in 1920. He immigrated to was born in Vienna in 1920. As England in 1939 after the Anschluss a composer he was always a and to the in 1940. miniaturist and composed tonally, He was never able to study music working in private and writing for or complete school, since Jews only a small circle of friends. His were not allowed to pursue higher grandfather had taken him as a education in Nazi-controlled child to the Schubert scholar Otto

Vienna. Fürstenthal taught himself Erich Deutsch for assessment, who © Marko Lipuš music by studying and analyzing ascertained that the boy had Haas. After he showed some of the works of , which is absolute pitch and should be Arlen’s compositions to Gerold evident in the similar style of his own encouraged to become a musician. Gruber, they immediately took the works. After serving in the U.S. Army After his flight from his native city in decision to present concerts of from 1942 to 1945, he became a 1939, he became the amanuensis of this music. In October 2008, Walter Certified Public Accountant and Roy Harris, the father of the American Arlen was honored with the Order worked in a number of positions symphonic style. Arlen worked from of Merit for services rendered to the for the U.S. Government. His works, 1952 to 1980 as a critic for the Los Republic of Austria by the President comprised of mostly chamber Angeles Times and lectured as a of the National Assembly, Barbara music and art songs, have found professor, establishing the music Prammer. Since then, Arlen’s increasing acclaim from New York department at Loyola Marymount, compositions have been met with and Washington to Germany and a Roman Catholic university. Until great acclaim. The organization his native Austria. He currently lives in exil.arte’s recognition, Arlen was worked to get the Arlen musical San Diego and it is anticipated that known only for his work as a critic. estate into the archives in the Vienna exil.arte will become the recepient As a critic, he felt it inappropriate to Municipal Library, and the composer of his musical estate. promote himself as a composer. has requested that digital copies be Today, Walter Arlen lives in Los donated to the new exil.arte Center. Angeles, where his work as a The organization has featured Arlen’s composer was recommended to work in several concerts and has 14 exil.arte Vice President Michael produced six CDs of his compositions. 15 Stories

“Friday night, March 11th, was the end of Austria. We were at my grand- At 2 o’clock in the morning, on the 13th, which is when Hitler came, there father’s and had the radio on. And then Schuschnigg came on and gave was a loud knocking noise on our front door. I ran out to open, there were that ‘famous’ speech, which probably people have forgotten. He stated eight SA there knocking at the door with their rifle butts. They just went into that Hitler put it to him, that this was it. And that was it. As far as he was the apartment, went into my parents’ bedroom—they were still in bed of concerned, he had to resign. And then was a long silence. And then course—opened all the wardrobes, threw everything out, found maybe a the Austrian National anthem came on, which the stupid Austrians sold few Schilling there which they pocketed, whatever jewelry they found they to the Germans as ‘Deutschland, Deutschland über alles.’ Anyhow, that pocketed. My father had an important stamp collection and somebody of was the anthem that came on the radio and that was the end of Austria. those eight knew that and asked where this stamp collection was. It had There was no more broadcast until probably Sunday. The radio was silent. to be shown of course. He stuffed all these albums of stamps into three so And Sunday was the day that Hitler came in. And everybody knew and called Schiffskoffer (steamer trunks) and then sealed them. And then he took everybody heard the Jubel, the joy that the Viennese felt when Hitler came. me into my room and started beating me up—this guy who confiscated the It was unbelievable. Where was I? Where were the Jews? They hid in their stamp collection. And then he went out. And then I heard somebody saying, apartments. You wouldn’t have gone out on the streets because I don’t ‘Soll’ ma den klan Judn a mitnehmen?’ (Shall we take the little Jew-boy with think you would have survived if you were recognized as a Jew. It was just us?) And then was silence. My father was gone, they forgot den klan Judn a absolutely made. Quickly everything has changed. mitzunehmen, obviously. So I luckily was not taken along.”

Walter Arlen as a young man (r.) with his family. CD cover from the exil.arte CD series published 16 by Gramola, Vienna. 17 2009

During this year, exil.arte founded its Database of Ostracized Composers (available online). It consists of the names, biographies, and notable works of composers suppressed by the Nazis. Today, it continues to grow and remains a valuable resource for exil.arte’s mission. Moreover, exil.arte also expanded beyond its Austrian borders, establishing a collaboration with the Anglo-Austrian Music Society in Great Britain. Additionally, it organized a concert series with the cooperation of Amaury du Closel and Voix Etouffées in Germany, Italy, and the Czech Republic. Within Austria, exil.arte also sponsored many more concerts, including one on February 18 to mark the 50th anniversary of the death of Erich Zeisl, an event attended by his daughter. In addition to participating in Vienna‘s Jewish Museum‘s exhibition on Hanns Eisler, which won Austria‘s prestigious Theodor Körner Prize for Historic Excellence, exil.arte sponsored concerts at the Vienna Konzerthaus and the University of Music and Performing Arts at Vienna’s Martinu Festival, which took place from June 15-21. The winners of the Hugo Kauder Competition performed works by the composer on November 18 at Vienna’s Jewish Museum. Finally, exil.arte embarked on its continuing symposia series beginning with the now annual FIMU – Film Music Symposium at the University of Music and Performing Arts Vienna. These activities led to the joint reception of the Golden Stars Award of European Commission with Voix Etouffées as well as subsidy grants from the National Fund of the Republic of Austria, the Future Fund of the Republic of Austria, the Rothschild The exil.arte database is available at Foundation, Action CZ-AT, Vienna Film Funds (FIMU), and the www.exilarte.at Film Association (FIMU). 18 19 hits. At age six, Kaper was already As of the early 1940s, Jurmann considered a child prodigy pianist. turned to freelance composing and Walter Jurmann He wrote his own compositions in his eventually retired altogether. During youth while studying at the Warsaw the last years of his life he produced aliases Bob Handers, Pierre Candel Conservatory (while simultaneously a renewed, vigorous outpouring of 12 October 1903 – 17 July 1971 studying law). He completed songs, including many love songs his musical education in , for his second wife, Yvonne, whom composing German feature films he married in 1953, as well as songs under the pseudonym Benjamin written specifically for the cities San Kapper and directing his own works. Antonio, Houston and Los Angeles. Bronislaw Kaper From the start, the Jurmann/Kaper Jurmann´s famous film songSan 5 February 1902 – 26 April 1983 team was a successful and extremely Francisco was later chosen to be the productive one. city’s official song. Walter Jurmann The composer Walter Jurmann With the advent of the sound film, died on 17 June 1971 in , was born in Vienna, Austria, on 12 Jurmann and Kaper became , while vacationing with his October 1903. After completing his involved with the German film wife. She is Hungarian and continues schooling he initially started studying industry, for which they wrote several to live in Los Angeles. medicine, but his love for music popular film songs. They went to Paris and his melodic gifts led him to an Bronislaw Kaper was nominated in 1933 as a result of their association engagement as a pianist. He met three times for an Oscar in the with various German-French and Fritz Rotter, already a successful category of Best Original Score Austrian-French film productions. In lyricist, who suggested they work over the course of his active four- 1934 Louis B. Mayer of MGM heard of together. Rotter‘s and Jurmann‘s first decade career and even received Jurmann and Kaper and persuaded collaborative effort, „Was weißt denn a nomination for Best Song. He was the team to come to Hollywood. Du, wie ich verliebt bin“, was an finally awarded an Oscar in 1954 for Their work in the United States immediate hit and would be the first Hi-Lili, Hi-Lo from the romantic film quickly won acclaim. However, of many. In 1931 Rotter introduced Lili. Another well-known by as the film industry in Hollywood Jurmann to the Polish composer Kaper was Mutiny on the Bounty in Drawing from the gradually changed and ever fewer Bronislaw Kaper who became 1962, for which he was nominated website films required specially composed in two categories (Best Score and filmmusik.exilarte.at arranger and orchestrator of the “theme“ songs, Jurmann began to Best Song). Bronislaw Kaper, who with information team’s melodies. loosen his ties to MGM, and in 1938 about the film music was never married and never had Bronislaw Kaper was an American the Jurmann/Kaper collaboration children, died at the age of 81 from composer Walter composer of Polish origin who Jurmann was amicably dissolved. cancer. wrote both film scores and popular 20 21 2010

In 2010, exil.arte intensified efforts to expand beyond concerts to film and CDs. This year, filming of parts of the unfinished opera Hiob or Job by Erich Zeisl (first recorded in a version for reduced orchestra for a documentary about the composer by the director Herbert Krill) occurred and culminated in a premiere on May 6 at the Arnold Schönberg Center in Vienna. The actual opera was later performed in Rostock and in 2015, with its third act completed, in its original at the Bavarian State

Opera in Munich. exil.arte also embarked on a CD series through © exil.arte collaboration with the Gramola Label with the release of the CD Barbara Prammer, President of the Austrian Parliament, speaking at the Hans Gál –The Right Tempo. presentation of the exil.arte database, Palais Epstein, Vienna. Under the supervision of producer Michael Haas, flutist Ulrike Anton recorded works by Hans Gál together with pianist Russell Ryan and the violinists Cornelia Löscher and Wolfhart Schuster. The Database continued expansion and was presented at the Palais Epstein in Vienna to a wider audience on June 23, attended by Barbara Prammer. These efforts were rewarded with recognition and subsidy grants from the National Fund of the Republic of Austria, the Chamber Music Festival Schloss Laudon, the Rothschild Foundation, the Future Fund of the Republic of Austria, EU Culture, BMUKK (Max Steiner), the Austrian Federal Economic Chamber, the BMWF (FIMU and Symposium), Vienna Film Funds (FIMU), and the Film Association (FIMU). Co-chairman Michael Haas concluded his series of exhibitions CD Hans Gál – The Right Tempo, exil.arte CD series at Vienna‘s Jewish Museum on Ernst Toch, finishing with a Gramola Label, Vienna. celebrated exil.arte concert, moderated by Irene Suchy, later released on CD with the ensemble „die reihe“, Vienna‘s Motettenchor and Wolfgang Holzmair. © Georg Vlaschits, Jonathan Vaughan 22 At the film set for the operaHiob by Erich Zeisl. 23 called The Chinese Flute. With the rise Ernst Toch of Nazism, Toch and his family moved first to Paris then London before 7 December 1887 – 1 October 1964 taking up an invitation to teach at New York‘s School of Social Research. Ernst Toch decided to become studying with neither Franz Schreker He moved to Hollywood in order to a composer upon reading the or Arnold Schönberg. Instead his earn enough money to free friends headline in a newspaper in 1897 that instruction with Iwan Knorr was far and relatives from Hitler‘s Europe the composer was from the complexities of Viennese and eventually made a niche for dead. Until that time, it had never life and he would move to become, himself as a composer of suspence occurred to Toch that it was possible along with fellow Frankfurt graduate and science fiction films, including to be a composer. He was taken on , the principal Bob Hope‘s earliest ghost story films. by at the age of only representative of music within the He also took a professorship at the 15, and the Rosé Quartet premiered New Objectivity movement that had University of Southern California his first quartet when still just a school started in Mannheim in 1925, where before leaving both film and boy. He left Fuch‘s composition Toch was resident and teaching academia to devote his final years classes when the death of his father at the City‘s local conservatory. to composition. Like Egon Wellesz, left the family in financial difficulty. Toch‘s fame spread quickly not he turned to the , a form Toch‘s earliest compositions, up to only through new-music events he had never attempted before the

op. 12 were left with his first girlfriend, at Donaueschingen and Baden- © UCLA Performing Arts Library war, but now drew him closer to his Stella Mikolasch the daughter of his Baden, but also via the efforts of cultural roots. He was nominated teacher who later vanished such traditional stalwarts of German Milhaud, Smit, Toch, Schönberg, for an Oscar, and won a Pulitzer along with Toch‘s early works in music as Wilhelm Furtwänger and Gál, Schulhoff performed by Prize, along with many awards from one of Hitler‘s death camps. Toch Walter Gieseking. In 1916 he married Friederike Haufe and Volker the German government. He was went on to study medicine at the wealthy industrialist and bankers’ Ahmels: exil.arte CD series as good as totally ignored in his Vienna‘s university before winning daughter Lili Zwack. It would be hard homeland Austria despite both Lili a competition that allowed him to over-estimate Toch‘s presence and Ernst Toch making frequent to enter Frankfurt‘s Hoch‘sche in German musical life. A proposed return visits after the war. Conservatory in 1909, the same opera with Hermann Hesse fell year that Paul Hindemith began through but eventually became Drawing from the website his studies at the same institution. Hesse‘s Siddhartha and Toch‘s filmmusik.exilarte.at Toch was therefore very different Orchestral Song Cycle based on with information about the film from most Viennese composers by Bethge translations of Chinese poetry music composer Ernst Toch 24 25 Georg Tintner 6 February 1881 – 11 August 1949 Karl Weigl Karl Weigl was a composer and 22 – 2 October 1999 and composition with Josef Marx. music pedagogue. He studied Georg Tintner was born in Vienna in He became Assistant Conductor composition under Alexander 1917. He began studying piano at at the Vienna Volksoper at the age Zemlinksy and Robert Fuchs, finishing Vally Weigl the age of six and started composing of 19. In 1938 he fled the Anschluss, his education in music with a soon after. From age nine to thirteen finally arriving in . doctoral degree under Guido Adler he was a member of the Vienna From there he went to as in 1903. He was an accompanist Boys Choir, after which he entered Resident Conductor of the National from 1904–1906 under the Vienna State Academy (now the Opera. He traveled from Cape Town at the Vienna Court Opera and in University of Music and Performing to London, returning to Australia in 1904 co-founded the „Vereinigung Arts Vienna), where he studied 1971. He conducted over 50 operas, Schaffender Tonkünstler“ (Association with about two-thirds from memory, of Composers). From 1918-28 he and appeared many times with all taught composition, harmony, Australian opera companies. counterpoint, and chamber music at He was in great demand across the New Vienna Conservatory and following his move at lectured at the University of Vienna the end of 1987 to become Music from 1929–33. Weigl immigrated to Director of Symphony , the United States in 1938 following conducting all major Canadian the Anschluss and taught at both © www.karlweigl.org , including several conservatories and music schools concerts with the Toronto Symphony in Hartford, Connecticut (1941–42), and Montreal Symphony. He also Brooklyn, New York (1943–45), conducted the Michigan Opera Boston, Massachusetts (1946–48) and Theatre in Detroit, while making Philadelphia, California (1948–49). He numerous appearances at the became an American citizen in 1944. Sydney Opera House, He held master His second wife and former pupil, classes every year in the Czech Vally Weigl (1894-1982), became one Republic until his death in 1999. To of the first American practitioners of

Source: alchetron.com Source: this day he is considered one of the music therapy in addition to being a outstanding conductors of the works well-regarded composer and piano 26 of . teacher. 27 highly acclaimed by the international press and also presented by BBC Radio 3. In addition to this recording two major public 2011 performances could be organized in and Vienna, culminating in a concert at the Wiener Musikverein together with the Austrian Radio Symphony Orchestra and the soloists This was the year exil.arte celebrated its five-year anniversary Ulrike Anton (flute) and Russell Ryan (piano). Prior to this concert with a concert at Haus der Musik featuring works by a round-table discussion with distinguished guests, such as Rachmaninov / Kreisler, Gál, Graubart, Krenek, Zemlinsky, Barbara Prammer, Richard Winter, Ulrike Zimmerl, Michael Korngold, Schönberg, Laury, and Kuti. The performers included Haas and Gerold Gruber was organized. The funds of the Ulrike Anton (flute), Raluca Stirbat, Christoph Eggner, Zita Bank Austria Art Award allowed exil.arte to expand into a new Tschirk, Andreas Wildner, Andrea Linsbauer (piano), Orsolya territory by operating on an international level. With this CD Korcsolán (violin), Christiane Marie Riedl (mezzo-), Ethel Merhaut (soprano), and Adamas Quartet with presentation by Marion Eigl. In addition, exil.arte hosted a symposium at the Konzerthaus Vienna and an excursion to the Czech Republic focusing on Gustav Mahler. On November 6 at the Volkstheater Vienna, with some five hundred people in attendance, Walter Arlen presented his music in a short concert and, bequeathing his musical estate Vienna’s Municipal Library. Additionally, exil.arte received the Bank Austria Art Award International 2010. The

project “Silenced Voices – Ostracized © Bank Austria Music!”, submitted by exil.arte and initiated Award ceremony Bank Austria Art Award International 2010 (with Vorstandsdirektor by flutist and musicologist Ulrike Anton, Willibald Cernko, Dr. Ulrike Anton, Dr. Thomas Angyan and Univ. Prof. Dr. Gerold Gruber) focused on the composer Ewin Schulhoff and was selected by the jury from 328 recording and the two concerts in Prague and Vienna the applications. As a result exil.arte was able organization was able to reach out to a wide public, renowned to produce another CD recording (Lost artists and the international press. Generation) together with the world- renowned English Chamber Orchestra, flutist Subsidy grants this year also included the National Fund of the Ulrike Anton and pianist Russell Ryan under Republic of Austria, the Future Fund of the Republic of Austria, the conductor David Parry. This CD was Bank Austria, EU Culture (for the opera Job), IES (Symposium), ÖKF, Vienna Culture, BMWF (Symposium and FIMU), Thomastik After Mahler‘s Death poster based on a painting Infeld, the Austrian Federal Economic Chamber, VLS (FIMU), 28 by Arnold Schönberg of Mahler‘s funeral. Gramola, and Vienna Film Funds (FIMU). 29 Viktor Ullmann was a Czech 1 January 1898 – 18. Oktober 1944 composer who was one of the first to successfully integrate Jazz influences into concert music. Modern and progressive, Schulhuff experimented with Dadaism, Expressionism, Socialist Realism, and other techniques Erwin Schulhoff to create an outsider-looking-in 8 June 1894 – 18. August 1942 persona with fascinating results.

When exil.arte decided to apply for the Bank Austria prize, the Viktor Ullmann was a composer who organization knew the funds could studied under Arnold Schönberg help put on more large-scale, and worked for Alexander Zemlinsky expensive to produce concerts. The in Prague. In 1942 he was deported proposal included an idea for a CD to the Terezín concentration camp © Schott Promotion featuring the works of Schulhoff, where he was asked to work as a who wrote for larger orchestras and music critic and concert organizer whose work could not be produced rather than being placed on without additional funding. The the more normal, manual work CD also included Coventry: assignment. This allowed him to Meditation for String Orchestra by compose while interned, and Vilem Tauský and an arrangement contributed to his rather high output for string orchestra of the Ullmann of music during this period. In No. 3 Op. 46. It was October 1944, Ullmann along with produced by exil.arte co-chairman fellow coposers Hans Krasa and Michael Haas with executive Pavel Haas was murdered on one of producer Gerold Gruber. The prize the last transports to Auschwitz. allowed the organization to expand into new territory, bringing important CD Lost Generation, exil.arte CD 30 recognition to even more artists. series at the Gramola Label, Vienna 2012

In 2012, exil.arte continued to expand its influence through symposia and its first volumes ofexil.arte publications. The organization also was able to collaborate with the English Chamber Orchestra for CD recordings in London as a result of having received the Bank Austria Prize in 2011. In addition to the annual FIMU - Film Music Symposium, exil.arte sponsored the Symposium “Continental Britons / tracked, marketed – remember?” at the Academy for Politics, Economics, and Culture, Schwerin. It also sponsored a discussion-based At the CD recordings with the English Chamber Orchestra and David Roundtable at the Crystal Hall, Musikverein Vienna with Volker Perry, conductor, Ulrike Anton, flute, Russell Ryan, piano in London. Ahmels, Gerold Gruber, Michael Haas, Hannes Jay, Barbara Prammer, Richard Winter, and Ulrike Zimmerl. The concert “In Memoriam of Fritz Kreisler” was hosted in November. Subsidy grants this year included the National Fund of the Republic of Austria, the Future Fund of the Republic of Austria, EU Culture (ESTER), the Austrian Federal Economic Chamber, Walter Arlen, Vienna Film Funds (FIMU), and the Film Association (FIMU).

The first two volumes of the exil.arte publication series at Böhlau Verlag Vienna.

32 33 Hanns Eisler 8 July 1898 – 6 September 1962 genre’s most recognized composer. Hangmen also Die, Bertolt Brecht’s Born in Leipzig, he moved with Collaborations with Bertolt Brecht, only Hollywood film. A denunciation his family from an early age to Erwin Piscator and other activists by his sister, Ruth Fischer, now living Vienna. His father was the noted followed. With Hitler’s seizure of and working at Harvard University lexicographer and philosopher power in 1933, Eisler devoted himself and a virulent anti-Stalinist, flushed Rudolf Eisler (1873–1926). To describe to the formation of a Unity Front out Gerhart’s spying activities while Hanns Eisler’s life as exceptional is together with the “Richard Tauber compromising Hanns Eisler as well. surely an understatement. His sister, of the Barricades” Ernst Busch. High profile hearings with the House Ruth Fischer would become leader Together, they attempted to bring of Un-American Activities resulted of Germany’s Communist Party, anti-fascists of all political persuasions in his enforced removal in 1948. He and his Brother Gerhart, a Soviet spy together. Film and stage work in the returned to Vienna, black-listed in and media personality, later in the Soviet Union followed, with Eisler all sectors except the Soviet Zone, German Democratic Republic. soon becoming honorary chairman continuing his Brecht collaborations of the Music Information Division of with stage and film in Austria until the Eisler began his musical education Comintern. With the continent’s fall Soviet withdrawal in 1955. His work with Karl Weigl, but soon switched to different fascist governments, Eisler now took him to the newly formed to Arnold Schönberg, who taught would spend more and more time German Democratic Republic, for him without accepting payment. staying one step ahead of political which he composed the National By 1924, relations between the two persecution. Eventually he arrived Anthem. Recognition and political had broken down as Eisler believed in the United States with an offer to adherence did not spare him his teacher’s music too elite for teach at New York’s New School of dangerous public show trials. His normal listeners. A move to Berlin Social Research. A temporary visa confrontation with the realities of and exposure to the Soviet agitprop resulted in relocating to Mexico, Stalinism resulted in his remaining troupe The Blue Blouse, led him to until a remote Mexican-American an Austrian citizen throughout his write music for use as a political border crossing allowed him the years in the GDR, with his final work, Drawing from the website tool. It ultimately became music necessary paperwork to remain. Ernste Gesänge demonstrating his filmmusik.exilarte.at with information about the film as agitprop, and Eisler became In Los Angeles, he worked as a ambiguity to the Marxist promise, music composer Hanns Eisler. not only the first to write overtly successful film composer, achieving around which he had dedicated so political “fight songs”, but the an Oscar nomination for his score much of his life and work.

34 35 Fritz Kreisler Fritz Spielmann 2 February 1875 – 29 January 1962 in 1888-1889, then returned to Austria Fritz Kreisler, born in Vienna in 1875, to apply for a position at the Vienna was an Austrian violinist and composer, Philharmonic Orchestra, where he was 10 November 1906 – 21 March 1997 turned down. He subsequently left one of the most famous of his day. Fritz Spielmann was a composer music to study first medicine and then He studied at the Music Academy in who received classical training at painting, and he spent a brief time in Vienna as a pupil of J. Hellmesberger, the Vienna’s Music Academy under the Austrian Army before returning to and he went on to study in Joseph Marx and Hans Gál. In 1920s the violin in 1899 and performing with (at the „Conservatoire de Paris“) Berlin, he discovered his love for the Orchestra with with famous violin teachers such as American popular music and by tremendous success. That concert Massart and composition with Delibes. the 1930s was a popular song and and a series of American tours from Kreisler made his first tour to the U.S.A. theater composer in Austria. He 1901 to 1903 brought him genuine also was well known for his Wiener acclaim. Lieder (Viennese Songs). Spielmann In 1910 Kreisler gave the premiere of immigrated via Paris to the United Edward Elgar´s Violin , a work States in 1938, where after 1944 he dedicated to him. He briefly served enjoyed great success primarily as in the Austrian Army in World War I a film composer. He composed hit before being honorably discharged songs for such stars as Bing Crosby after being wounded. After marrying (Shepherd Serenade), Frank Sinatra his American wife, Harriet, he spent (One Finger Melody), Doris Day (A the remaining years of the war in the Purple Cow), Nat King Cole (If Love U.S.A before returning to Europe to live Is Good to Me) and Elvis Presley You Won‘t Forget Me was played in Berlin in 1924. He moved to France (I Don‘t Want To), thus achieving and sung by Miles Davis, Keith in 1938, but shortly thereafter settled in worldwide recognition. His song Jarrett and Shirley Horne. His most America and became an American successful musical, The Stingiest Man citizen in 1943. Kreisler lived in the in Town, opened on Broadway in U.S.A. for the rest of his life. He gave Drawing from the website 1962. Spielmann returned to Vienna his last public concert in 1947 with filmmusik.exilarte.at in 1970. Most of his works are at broadcast performances continuing a with information about „Akademie der Künste“ in Berlin, few years afterwards. He died in New the film music composer although some of them are in copy Fritz Spielmann. at the „Wienbibliothek“ in Vienna. York City in 1962. 37 performance with flutist Ulrike Anton and pianist Russell Ryan as well as a round table with conductor David Parry and Gerold 2013 Gruber. During 2013, exil.arte received numerous subsidy grants including the National Fund of the Republic of Austria, the Future Fund of the Republic of Austria, BMUKK (ESTHER), Continuing the efforts concentrated at expanding symposia BMEIA (ESTHER), EU Culture (ESTHER), the American Embassy along with book and CD publications, in 2013 exil.arte hosted (ESTHER), the German Embassy (ESTHER), the Austrian Federal the symposium “Following the Anschluss – Musical, artistic, Economic Chamber of Vienna (ESTHER), the Jewish Institute and pedagogical strategies of Holocaust-intervention” within (publication), the Culture Forum Paris, the Jubilee Fund, Pro the framework of the EU project ESTHER at the University of musica viva, Vienna Culture, Vienna Film Funds (FIMU), and the Music and Performing Arts Vienna. In November, exil.arte also Film Association (FIMU). presented the CD Lost Generation at the Austrian Cultural Forum, London. The book After Mahler’s Death (ed. by Gerold Gruber, Morten Solvik, and Jan Vicar) was released as well. In addition to these multimedia efforts, exil.arte sponsored several concerts across Europe. On October 16, the opening concert “4 Gál – Start Over Again” took place in the Altes Rathaus, the same day as the opening of an exhibition on the life and work of Hans Gál, which took place on the street where he lived in Vienna. The concert on October 17, Iron & Coal, featured works by Jeremy Schoenfeld, son of Paul Schoenfeld, which were inspired by the life of his father and connected to the Jeremy Schonfeld Marko Fitzthum symposium regarding the Anschluss. Sujet 4 Gál exhibition The next day, exil.arte sponsored another concert, The Tale of St. Bernard, which featured the works of the famous Austrian cabaret composer Hermann Leopoldi. In November the Austrian Cultural Forum in London presented the exil.arte CD Lost Generation (Bank Austria Art Award 2010) including a © Stephan Polzer 2013 In June Yale University Press published Forbidden Music – Jewish Composers Banned by the Nazis by exil.arte co-chairman Michael Haas. 38 39 Hugo Kauder Karl Rankl 9 June 1888 – 22 July 1972 for medical reasons in November 1941. After recovering, Rankl composed Hugo Kauder was born in 1888 in songs and . In the spring Tovacov near Prague. His father of 1944 he was able to continue his

Ignaz Kauder was director of the © Arnold Schönberg Center conducting career in the United local German language primary Kingdom, successfully working with school. As a boy, Hugo Kauder the London Philharmonic Orchestra had violin lessons with the local 1 October 1898 – 6 September 1968 and various orchestras at the BBC as teacher, which remained his only well as becoming the first post-war formal musical training. In 1905, Karl Rankl was an Austrian composer music director of the newly revived Kauder moved to Vienna to study and conductor who studied harmony, Royal Opera House Covent Garden. engineering but often skipped counterpoint, and composition under In 1950 he was on of the Arts’ Council lectures with classmate Egon Arnold Schönberg and attended of England’s prize winners for his opera Lustgarten to study scores in the conducting courses taught by Anton Source: www.hugokauder.org Source: Deirdre of the Sorrows. When it was Imperial Court Library. Webern. He was a founding member discovered that the prize for “Best New From 1911 to 1917 Kauder played Helene Guttman (1898–1949), a of the Society of Private Musical Opera in English” had been awarded violin in the Wiener Konzertvereins cousin of his study companion Performers (Verein für musikalische to an Austrian refugee, the work did Orchester under such conductors as Egon Lustgarten. In December 1938 Privataufführungen) and was active not receive its expected performance Ferdinand Löwe, , Arthur Kauder fled the Nazis to England and as an assistant stage manager, and as a result, Rankl subsequently Nikisch, and Richard Strauss. It was reached New York in 1940, where he instrumentalist, and arranger within the embargoed future performances of here he began a lifelong friendship spent the rest of his life composing organization, subsequently working all his compositions in Great Britain. with Dutch horn player Willem and teaching. Kauder’s music is throughout Europe as a conductor From 1958-60, he lived in Sydney, Valkenier (1887–1986), inspiring his spread throughout archives around and composer. After leaving Germany Australia where he was tasked to numerous horn compositions. From the world, and exil.arte is currently in protest of the Nazi regime in 1933, establish a strong opera ensemble as 1917 to 1922, Kauder was the violist in contact with the Kauder Society Rankl worked as a conductor in Graz a conductor of the Elizabethan Opera of the Gottesmann Quartet. In and the composer’s granddaughter until he and his wife fled following Company Trust. Rankl spent his final 1919, he met poet and philosopher to search of the means and ways of the signing of the notorious Munich years between London and the Austrian Rudolph Pannwitz (1886–1969), who promoting his music. Agreement in 1938. town of St. Gilgen. He died in Salzburg would become his lifelong mentor. The organization will be producing a The Rankls finally moved to England, on 6 September 1968. The majority of In 1923 Kauder married the linguist, CD of his works and a book on his life where the composer was held in an his manuscripts are kept in the Music archeologist, and bible scholar in the near future. internment camp before being released University in Graz. 41 2014 Wilhelm Grosz to publish these popular settings. Most In 2014, exil.arte held the concert series “Exit to Mexico” and alias Hugh Williams of these dance titles were written with lyricist . Grosz died in “Exit to USA,” which spanned from Paris to to New 11 August 1894 – 10 December 1939 York. This concert series toured the cities where composers 1939 in New York City. affected by the Nazis found refuge, including Paris (Cité Wilhelm Grosz was an Austrian Though he is better known for his Internationale Universitaire), Mexico City (Palacio de Bellas composer, pianist and conductor. He popular music, Grosz’s classical Artes), and New York (Carnegie Hall). This concert series in part studied music with Franz Schreker and repertoire is extensive. In the mid-1990s also celebrated the bravery of Gilberto Bosques, the Mexican Guido Adler in Vienna. In 1921 he was a selection of his works was recorded Consul General in France during WWII. Through his efforts, appointed conductor of the Mannheim by as a part of the over 40,000 Jews and political dissidents were able to escape Opera, but returned to Vienna in 1922, series Entartete Musik (subtitled „Music the Nazi regime by fleeing to Mexico. Hannah Eisendle, a where he worked as a pianist and Suppressed by the Third Reich“). His composer. In 1927 he became the contemporary female pianist and composer, performed works music was found by exil.arte when by Ruth Schönthal, an exiled female pianist and composer. artistic manager of the Ultraphone the group was looking for his family in Gramophone Company in Berlin, and Finally, exil.arte also released The Last Blue (a reference to New York City. After contacting Grosz’s final tram of the night in Vienna) with works by Walter Arlen, as a result became one of the very first granddaughter, attempts are being recording producers. In 1933, following produced by exil.arte co-chairman Michael Haas with made to bring his musical estate to executive producer Gerold Gruber. Subsidy grants this year the appointment of Hitler as German Vienna. A CD of his works is also in included the National Fund of the Republic of Austria and the Chancellor, he left Berlin to become production. Future Fund of the Republic of Austria. conductor of the Kammerspiele Theater in Vienna. Forced to flee Austria because of the Nazi takeover, Grosz resettled in England in 1934 where he found little interest in this musical style. Luckily, he was able to apply his considerable melodic gift to setting the lyrics of popular songs, some of which became international successes CD Walter Arlen – Die letzte and are still performed today, such as Blaue, exil.arte CD series, Along the Santa Fe Trail, Red Sails in the Gramola Label, Vienna. Sunset, Isle of Capri and many more. Grosz adopted the name Hugh Williams 42 Estate © The Grosz Ruth Schönthal

17 June 1924 – 11 July 2006 Schönthal was the daughter of composition from 1941 under In 1999, the Berlin Academy of Arts Jewish parents who came from Manuel Ponce in Mexico City, established the Ruth Schönthal Vienna. Her father owned a welding enjoying great success as both Archive with letters, photographs, and soldering operation in Berlin and a composer and a pianist. and documents. The archive was had a variety of cultural interests. While touring through Mexico, opened in a grand celebration with She began composing at the Schönthal met Paul Hindemith, who the composer present. Her last will age of five and was considered in was so impressed with her talent and testament also bequeathed her 1930s Berlin to be a child prodigy. that he was able to secure her a artistic legacy to the Berlin archive. She began studying piano, music scholarship at Yale University where Schönthal‘s catalogue of works theory, and composition in 1930 at she studied composition with him contains more than 100 pieces of the Stern Conservatory in Berlin, but beginning in 1946. After graduating music, including three operas and was expelled in 1935 by the Nazis, from Yale in 1948, she initially earned numerous orchestral works, ballet along with all other Jewish students. music and songs, among which Schönthal then immigrated with a living composing music for is the string quartet In Memoriam her family to , where advertisements and pop songs. As Holocaust. she enrolled at the Royal Swedish she became increasingly successful Academy of Music. In 1940, she as a composer, she put her career published her first composition, her as a concert pianist aside and Sonatina for Piano. By 1941 the appeared regularly as an interpreter political situation had become too of her own works, becoming uncertain in Sweden. The family a lecturer at the Westchester fled to Mexico, where she studied Conservatory of Music.

44 45 2015

In 2015, exil.arte began its concert series Echoes of the Unheard Accompanying the different compositions the famous Austrian held at the ORF RadioCafé and moderated by Irene Suchy. The actor Max Müller read poetry by Erich Fried and Stephan Zweig. first concert of this series was dedicated to . Widely Finally, the organization also published the book ...and I’m known as one of the greatest conductors ever, he is little known Called “British” in Encylopedias… (edited by Gerold Gruber). for his compositions, which were donated to the University of Grant donors this year included the National Fund of the Music and Performing Arts in Vienna by his daughter, over fifty Republic of Austria, the Future Fund of the Republic of Austria, years ago. This concert was an effort to return his chamber the Centre for Ostracized Music Rostock, the Karl Kahane compositions to Viennese musical life. It was followed by a Foundation, Vienna Culture, Pro musica viva, the Austrian concert in June dedicated to Hans Gál, as part of exil.arte’s Federal Economic Chamber, and the Musikverein Vienna. continuing efforts to bring his legacy back to Vienna. In the fall, exil.arte also held two symposia (2015 - Seventy years after the end of World War II. Does 1945 mean the end of multiple styles? and the FIMU - Film Music Symposium). In November 2015 an exil.arte concert was included for the first time into the prestigious concert series of the “Gesellschaft der Musikfreunde” at the Wiener Musikverein. Under the title “Ostracized/Expelled/Forgotten” flutist Ulrike Anton, violinist Johannes Meissl, violist Daniela Ivanova ( Orchestra), cellist Vida Vujic, double bassist Maximilian Ölz, harpist Anneleen Lenaerts (Vienna Philharmonic Orchestra) and

Atout – Chamber Music group performed works by Leo Smit, all: © Iby-Jolande Varga Marius Flothuis, Gideon Klein, Erich Zeisl and Erwin Schulhoff.

Concert series Echo of the Unheard at ORF RadioCafé, presented by Irene Suchy (right). Above: Adamas Quartet Far right: Ethel Merhaut, soprano

46 2016

This year, the tenth anniversary of exil.arte, has already been

marked by several events, including the continuation of © Iby-Jolande Varga the Echo of the Unheard Concert Series with performances dedicated to in March, Egon Wellesz in May, and Artur Schnabel in September. exil.arte will also host a symposium focusing on its efforts and activities over the past ten years as well as a concert celebrating Croatian Jewish composers on November 21. Additionally, exil.arte will also sponsor another symposium, EntArteOpera, which will feature works by women composers. In the fall, exil.arte will host two concerts at the ORF KulturCafé, one of which will feature works by Ernst Krenek. The publication of Zur Frage der Polystilistik nach 1945 is planned for 2016, and a new section of the exil.arte website will be published, entirely dedicated to exiled film music composers, available at filmmusik.exilarte.at.

Home of the the exil.arte Centre founded in 2016 and part of the mdw (University for Music and Performing Arts Vienna), located on the first floorbel ( étage) with archive, reading room, exhibition space and researchers’ offices

Finally, exil.arte will also open its own exhibition, research, and archival space in the fall, which mark the culmination of Film Music and the Exile, exil.arte’s work over the past decade, the organization will host video interviews with renowned a symposium called “Ten Years of – What Next?” in the contemporary film composers, exil.arte interactive information graphics, Clara Schumann Saal. biographies and more at filmmusik.exilarte.at 48 49 Angyan Thomas Brand Juliane Dickbauer Vera Anton Ulrike Brenner Deirdre Diederichs Joachim Arckless Edward Brenner-Wonschick Hannelore Diederichs-Lafite Marion Arlen Walter Brezina Ales Dimitrova Tzveta Aron Quartett Brix Emil Divosová Pavlina Aronson David Brunner-Szabo Eva Dosch Wolfgang Atout - die Kammermusikgruppe Brusatti Otto Driver Danny Auerbach Geraldine Burdicek Georg du Closel Amaury Auner Thomas Michael Carroll Brendan Duit Jörg Avallone Stella Cernko Willibald Dümling Albrecht Babb-Nelsen Rebecca Cho Wonbae Eder Bernhard 2006-2016 Babenko Anna Chválová Olga Eder Bernhard Balgavy Michael Clauberg Theresa Ludmila Eggner Christoph Barkow Ben Cortes-Galvez Kirlianit Ehalt Hubert Christian Barne James Cosman-Keller Milein Ehrlinger Florian Barta Edith Cronin John Eichtinger Martin Barth Jürgen Cukrova Marketa Eigl Marion Basic Ksenija Czellecz Ildikó Eiselt Susanne Bauditz Sascha d`Ermengildo Stefano Eisendle Hannah Katharina Abbrederis Susanne Bauer Esther Damken Andreas Eixelsberger Jörg Adamas Quartett Bauer Esther Danner Sonja Elias Robert Adel Martin Beimdieke Sara Darnhofer Oliver Endo Mikaya Ahmels Volker Bekcic Nebojsa Darnhofer Oliver English Chamber Orchestra Aigner Thomas Benevicius Jurgis de Castillo Leon Erlach Katja Albrecht-Weinberger Karl Bergs Kristaps de Mas Brigitte Eschwé Susanne Alders Carine Bigot-Baumgartner Siegrid de Mas Brigitte Farber Samantha Alessandri Reinhard Binarova Vera Deluca Raffaele Farron Francoise Amon Heidemarie Binder Beppo Dennhardt-Herzog Waltraud Fastenbauer Raimund Anderson Martin Blauensteiner Anneliese Denscher Bernhard Feiger Sonia Anderton Abby Borodin Vladimir Descamps Francois-Pierre Fellner Markus Andras Matyas Böttcher Thomas Deutsch Esther Fercher Christina Maria Andrusenko Jewgenij Brand Bettina Dickbauer Vera Ferguson Stephen 50 51 Firsanová Anna Halbwachs Christoph Hornek Désirée Kloner Andreas Fischer Gianluigi Hamböck Gudrun Hösele Herwig Klose Petra Fitzthum Michael Marco Hamilton Katy Hubbard-Korngold Kathrin Knapp Joanna Flechl Elisabeth Hampl Karel Huber Konrad Knoche Sonja Fousková Veronika Hampson Thomas Huber Stefanie Koblanck Astrid Fox Anthony Hanon Delaney Huliychuk Illya Kögler Elisabeth Fox-Gál Eva Hanusová-Flachová Anna Hulla Mia Kohl Jürgen Friedemann Ludwig Harders-Wuthenow Frank Hurworth Greg Kokits Anna Magdalena Frolova Ekaterina Hartlieb Alexandra Immler Christian Komorni orchestr Berg Fröschl Gabriele Haselböck Lukas Indjein Teresa König Wolfram Frostig Karen Hasitschka Werner Ivanova Daniela Konkolová Jana Fürstenthal Robert Haufe Friederike Jäger Herbert Kopecky Judith Fußenegger Ingrun Häusle Sybille Jahoda Moshe Korcsolan Orsolya Gajdosíková Jana Haziot Susanna Victoria Jakubovits Erika Kotschy Johanna Gallister Paul Heher Hannes Jankova Stefania Kouzmanova-Kerr Bojidara Gasseleder Julia Heilman Lucia Jaspers Karl Krawagna Bärbel Gebert Alexander Heindl Christian Jennes-Müller Sigrid Krill Herbert Gerber Marelize Heindl Georg Jensen Adam Krist Martin Glück Elvira Heindl-Koornneef Neline Jensen Jan Krones Hartmut Gneisz Lilli Henschel Dietrich Jess Trio Krüger Lydia Graubart Michael Hermannová Eva Johns Stephen Kubala Sylvia Grippaudo Ilaria Hernandez-Flores Adriana Jurmann Yvonne Kukelka Alexander Grotter Peter Hertel Paul Kahane Patricia Laab Martina Gruber Christoph Hinova Kristina Kang Junga Lademann Stephan Matthias Gruber Gerold Hofecker Franz-Otto Kann Tsukasa Lajcáková Lucia Grünzweig Werner Hofer Susanne Kapeller Johannes Landgraf Philipp Guschlbauer Marilies Karolin Höller Margit Katz Ruti Lang Meena Haas Michael Holzinger Thomas Keppler-Schlesinger Susanne Langasková Tatjana Haber Georg Hölzl Roland Kharambura Tamila Lee-Störck Barbara Hailey Christopher Holzwarth Christine Kinnett Randy Leibnitz Thomas Haindl Gudrun Hope Daniel Kinsky-Pollack Helga Leinwather Karin Halbmayr Brigitte Hopkins Porter Cecilia Kirichenko Anna Leitl Christoph 52 53 Lemm Ute Mattl-Wurm Sylvia Nedyaluova Dima Prammer Barbara Lenaerts Anneleen Maul Sandra Nemschitz Erika Prinz Daniel Lentsch Beate Maurer Zenck Claudia Neuwirth Heinz-Mathias Publig Michael Leopoldi Ronald Mayr Christian Nikolay Sabine Publik Renate Leroy Marc Mcquade Benjamin Nordeen Haley Punzengruber Dorothea Lessing Hannah Medlam Lukas Nothegger Verena Purgina Julia Lessing Kolja Mehne Bettina Obrslíková Johana Raab Hansen Jutta Levi Eric Meissl Johannes Ölz Maximilian Rachinger Johanna Lewy Jacqueline Meixner Silvana Ora Eeva-Lotta Kristina Radonic Marko Lichtenberg Christine Merhaut Ethel Oskaniam Tarkon Raková Marie Lind Christoph Merhaut Evelina Ostry Jan Rathkolb Oliver Linsbauer Andrea Mertinz Johanna Pameijer Eleonore Rauter Andrea Lipus Marko Mertinz Johanna Pany Peter Rauter Claire Liu Le Meyer Christian Papanikolaou Eftychia Reinhold-Weisz Eva Locatelli Armida Meyn Norbert Park Ihnseon Reinsperger Martha Löcker Daniel Mika Bogumila Parry David Reischl Katharina Löschel Hannes Mishory Matthew Pavlovic Milijana Reiter Sabine Lu Jia Möller Hartmut Pawlik Markus Rest Magdalena Ludwig Friedemann Mornell Adina Pena Stephany Reuter Christoph Luitz Josef Moser Christine Pester Nora Rhode-Jüchtern Christine Machhammer Michael Mottier Ann Peter Richard Riedl Christiane Mahler Marina Mottier Francoise Petersen Birger Ristow Nicole Mai Christoph Mudrich Katharina Peterson Nadezda Ryan Russell Maier Robert Mudrová Maria Pfau Bernhard Ryu Somyung Mailath-Pokorny Andreas Müller Antje Pflegerl Wilhelm Ryu Somyung Malina Lis Müller Max Pinchas Alina Sabaka Ludek Mamlok Ursula Musik Alexander Plank Elisabeth Sadoux Bettina Mandzik Eliza Muxeneder Therese Pokorny Robert Samel Udo Marboe Peter Muzikant Ariel Polzer Stephan Sarkar Peter Marinitsch Eric Myers Howard Posch Simon Sato Mari Maróthy-Ratz Katharina Nakamura Nobuko Potulska-Wnukowska Marta Sauerzapf Andreas Martináková Zuzana Napierala Lech Poutney David Schäffer Susanne 54 55 Schagerl Erich Starr Jason Toledo Quartett Werner Sybille Scharf Friederike Staudinger Michael Tomek Sandra Weschler Lawrence Scheib Christian Stenzel Hanne Tornquist Kristine Wiesner Ulrike Schellenbacher Wolfgang Stirbat Raluca Traska Georg Wildner Andreas Schermer Gordon Stollberg Arne Treffner Daniela Wildner Angelika Scheschareg Steven Strasser Jürgen Vácha Martin Winkler Hans Schiffer Lauren Streibel Robert Valsassina Ensemble Winter Richard Schliebe Stefanie String Quartett van Ooyen Johannes Wintle Christopher Schmidt Martin Leo Strutz-Schön Anna Vander Hart Chanda Wirnsberger Johanna Schneider Heinrich Stulberg Neal Varga Iby-Jolande Wittek Susanne Scholten Rudolf Sturm-Schnabl Katja Varon Anat Wizlsperger Vincenz Scholz Kurt Suchy Irene Vaughan Jonathan Wnukowski Daniel Schonfeld Jeremy Sugár Gergely Vaughan Norman Wöhrer Karin Schulenberg-Leduc Katharina Sullivan-Delcroix Mary Lou Vaughan Ronald Wolf Elisabeth Schürmann-Zehetner Yvonne Sung Suha Vavrik Stephan Wollte Isabel Schüssler Miyuki Supin Francisco Vavrik Ursula Wollte Wolfgang Schuster Wolfhart Suranová Eva Velasco Manzanilla Fernanda Wolowiec Andrea Schüttengruber Ines Sych Ulrike Viol Philipp Oliver Wurz Matthias Schwartz Alan Szymanowski Quartett Vlaschits Georg Wuthe Benjamin Schwarz Martin Tadina Stephanie von Bockel Rolf Xuan Ni Schwertberger Gerald Takase Yuta von Vietinghoff Alexandra Yamanaka Marie Seidl Sabine Tansman-Martinozzi Marianne Vrbová Marie Yankova Stefania Seiser Verena Tansman-Zanuttini Mireille Vujic Vida Yokoo Eiji Shang Wu Wu Teimel Eva Wagner Karin Zehetner Michael Shir-On Aviv Tenner Haide Wagner Paul Zeisel Georges Silerová Lucie Theill Karola Waiz Gerhard Zeisl-Schönberg Barbara Sinkovicz Wilhelm Thunhart Peter Wallner Irene Zeppelzauer Hans Solvik Morten Tiefenthaler Elisabeth Wegele Peter Zimmerl Ulrike Sonntag Anna Tilson Thomas Michael Weigl Karl Zimmermann Chris Sperlich Andreas Tinhof Julia Weinberger Peter Zlatev Mario Srnka Miroslav Tintner Tanya Weingartner Benedikt Zoidl Clemens Stajner Tamara Töchterle Bettina Weiss Manfred 56 57 IMPRINT Responsible for the content: exil.arte Univ.-Prof. DDr.h.c. Gerold W. Gruber [email protected] www.exilarte.at

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Unterstützt durch die Authors: Österreichische Nationalbank, Delaney Hanon, Jacqueline Lewy Jubiläumsfonds-Projekt-Nr. 14931 Michael Haas Layout Draft: Haley Nordeen Layout, design, and drawings: Iby-Jolande Varga Editor: Gerold Gruber exil.arte ist Preisträger des Bank Austria Kunstpreises 2010

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