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Home , Bruno Walter, Cologne Opera, Felix Mottl, Hans Knappertsbusch, Hermann Abendroth, Karl Erb

WALTER BRAUNFELS (1882–1954)

An exhibition of the Walter-Braunfels-Association In collaboration with the Deutsche Oper To mark the debut performance „Jeanne d‘Arc – Szenen aus dem Leben der Heiligen Johanna“

Content

Foreword 5

Walter Braunfels, celebrated of the Twenties 6

Symphonic and vocal symphonic works and their interpreters 24

Last successes as opera composer – the creative years in forced isolation – Rediscovery of the composer Walter Braunfels worldwide 42

Chronology 64

Bibliography 68

Picture credits 70

Acknowledgement 71

Imprint 72

Foreword

Walter Braunfels originated from an old Jewish family in the am Main Region. After his move to , he became a musician under the infl uence of . established the opera „Die Vögel“as one of the most successful premieres held at the Munich National Theatre in the 20th century. These were followed by the premieres of “” and the “Großen Messe” in , as well as the Opera “Don Gil von den grünen Hosen”, directed by in Munich. Suddenly, next to Strauss and Schreker, Walter Braunfels was crowned as being one of the most performed of the early twenties. In 1923, demanded my grandfather to compose the anthem of the Nationalist Socialist movement, which he absolutely refused. A few years later, the Nazi’s took over the power in and forced Walter Braunfels to give up his position at the Music Academy in Cologne. The years following, he was banned to compose and perform musical works of art. Due to the strong opposition he faced after his banishment from the public musical stage and my grandfather‘s withdrawal into the inner migration, he gained in extraordinary creative strength. His concentration was directed to religious subjects, which gave him the strength to endure the years of banality and brutality. Inspired by this period of his life, he composed his three „inaudible “ - “Verkündigungen”, „Jeanne d’Arc, Szenen aus dem Leben der Heiligen Johanna“ and „Der Traum ein Leben“. In addition to the operas he composed a cantata cycle for the festivals of the Christian year, four orchestra song cycles, three string quartets and the meaningful string quintet. Nonetheless, the twelve years of banishment during the Nazi regime, were followed by nearly 60 years of ostracism and exclusion. Up until a few years ago, the late romanticist Walter Braunfels remained forgotten. Now a new generation of open-minded and unprejudiced have discovered what in 1930, Alfred Einstein characterised as: “timelessly unfashionable”. On December 19th 2007, in memorial of Walter Braunfels 125th Birthday, the Walter-Braunfels-Association met to advocate and honour his music in future, as well as the inspiration the late romanticist proved to be. Many of his works have not been performed since 1933, of some not even perfor- mance material exists.

Stephan Braunfels Youth and academic years

Walter Braunfels originated from a Jewish family, situated in Frankfurt am Main. During the early years of his fathers life, Ludwig (actually Lazarus) Braunfels, he converted from the Jewish to the Protestant belief. The successful lawyer, teacher of Romance language/literature worked for the Frankfurter Zeitung and created lasting translations of the “Nibelungen” songs, as well as of “Don Quijote”, both which exist to this day. In 1866, he married his second wife Helene Spohr, grandniece of the composer . Walter Braunfels was the youngest of four children to come out of this marriage. Initially his mother gave him lessons, which was later expanded in the course of his training at the Hoch’schen Konservatorium by the and Iwan Knorr (Theory). The decision to dedicate his entire life to music was made in 1902 in Munich, after the overwhelming impression of watching the performance of Felix Mottl’s “”. Walter Braunfels quickly gave up his law studies to pursue working for the pianist Theodor Leschetitzky in . Karl Nawratil, as well as the Master of the New Romanticism School in Munich, , gave Walter Braunfels lessons in composing. In the course of this traineeship at Felix Mottl‘s, he was able to gain valuable experience with composi- tions by Berlioz and Bruckner. For the librettist Walter Braunfels, effective incitement was received by Karl Wolfskehl from the George circle. In 1905 Braunfels was acquainted with the sculptor Adolf von Hildebrand and fell in love with the youngest of his daughters Bertel, who was musically gifted and taught by Max Regner. However, Bertel was at the time engaged to Wilhelm Furtwängler.

1 Father Ludwig Braunfels (1810–1885 ), 1866 2 Mother Helene Braunfels, born Spohr (1842–1920) with her youngest son Walter 3 Walter Braunfels (1882–1954), 1902 1 2 4 Bertele von Hildebrand (1886–1963) Walter Braunfels subsequent wife, around 1905 3 4 6

„“, 1909

With Braunfels‘ initial genious pitch, the opera „Prinzessin Brambilla“ op. 12 landed a success. Originally it was narrated by E.T.A. Hoffmann, whose libretto Braunfels had written on his own. Both Felix Mottl and Max von Schillings, successful conductors at the time, competed for the premiere rights. The prelude for the 2nd act had already taken place under Mottl’s lead in November of 1907 in collaboration with the Royal Court orchestra. Once the terms of agreement for the premiere at the National Theatre in Munich were closed and certifi ed, Max von Schillings wrote to the composer: “As your consulting friend, I am pleased – as musical advisor of H.M.the King of Wurttemberg I am in grief. It would have been my absolute pleasure to take up the fi rst cudgels for this opera. Now, hopefully, it shall be the second ones. By no means am I backing out of the plan to bring this work of art to and to perform this work in the upcoming season.” As the rehearsals in Munich were strongly delayed, “Prinzessin Brambilla” experienced its successful premiere in Stuttgarts Court Theatre on March 25th 1909, under the lead of Max von Schillings.

1 Piano score of the opera „Prinzessin Brambilla“ cover page (design by R. Leonhard), Berlin 1909 2 Max von Schillings, (Düren 1868–1933 Berlin) 1908 –1918 general music director at the Royal Court Theatre Stuttgart conductor of the premiere held in Stuttgart 3 Felix Mottl (Unter–St. Veit/Wien 1856–1911 München) 1904–1911 Royal Bavarian general music director conductor of debut performance in Munich 4 „Prinzessin Brambilla, Heitere Oper in fünf Szenen“ op. 12 1 2 1906–1908, script, I. act, 1. scene Munich, Bavarian National Library 3 4 8

„Die Vögel“, 1920

Bruno Walter made the opening night of ”Die Vögel“ at Munich’s National Theatre one of the most successful in the 20th century. “It will be a touch- stone for the audience, not for the work, to decide if the success will be long lived” was the judgement of the well-known music critic Alfred Einstein, because he did not believe „that the German opera stage has ever seen such a piece of art than this „lyric-phantastic play according to Aristo- phanes“, the third work by Walter Braunfels. A marvellous piece of art that like no other demands the vivid representation, the visibility of the stage, which does nonetheless than following an „opera story plot“; a work, which - upon fi rst consideration appears to address the small community of people with a certain thrive for art, however it is born from an artistic mind and addresses everyone equally … It can and must be considered as a work by an artist, not as an artistic drama – compared with the „Meistersinger“ and the “” by Pfi tzner, the grandest national German music drama, the transfi guration of a world, which we glance upon like a lost paradise. `Palestrina` witnesses the romantic pessimism, self-centered, narrow, valedictory and tired. “Die Vögel” however is a work of yearning after the pure kingdom of fantasy, the art and the poetry, at the same fulfi lling the desires, a leap into timelessness and anti-trend – an absolute work of an artist which a German musician – around and after 1914- must have written”.

Play bill for the opening night of the opera „Die Vögel“ at the Bavarian National Theatre on 30 November 1920 10

„Die Vögel“, 1920

During the period in which Bruno Walter belonged to the ensemble of the Munich National Theatre, it was counted as being the most successful in the German speaking area. In 1922, when the conductor left, Alfred Einstein noted that the members of the ensemble where by no means “randomly placed, they were an ensemble impressed by a uniform spirit”. With Maria Ivogün a singer was available for the role of Nightingale “as she could not be thought of more perfect“ (), also for Alfred Einstein, in the league of actors was “on top the Nightingale of Ivogün - in fi ne one of a kind, that only elopes when nature, highest art and special task joint in united in such a miraculous way”. During the rehearsals, Maria Ivogün and , who played the role of her partner Hoffegut, got engaged. When Bruno Walter left to Berlin in 1925 Maria Ivogün followed him. Retro- spectively, Bruno Walter described “Die Vögel“as being “one of the most interesting innovations of his working era in Munich”. Alfred Einstein, a critical observer of this period, summarized “Die Vögel” as being the most “affectionate and accomplished performance originated by Bruno Walter, fi lled with indescribable delicateness and abundance of colours, expressing never-ending warmth and purity.”

1 Bruno Walter (Berlin 1876–1962 Beverly Hills, California) 1913–1922 general music director of the Bavarian National Theatre, conductor of the premiere 2 Maria Ivogün (Budapest 1891–1987 Beatenberg, ) , from 1913–1925 member of the Bavarian National Theatre 3 Karl Erb ( 1877–1958 Ravensburg) , from 1913–1925 member of the Bavarian National Theatre, sung the role of „Hoffegut“ during the premiere 4 Maria Ivogün, „one of the most ingenious singers on the opera stage“ 1 2 (Bruno Walter), as Nightingale during the opening night at the Bavarian National Theatre 3 4 12

„Die Vögel“, 1920

Delayed by the First World War, Walter Braunfels presented his third piece of work “Die Vögel” in 1920 and celebrated his breakthrough as an opera composer, enforcing the reputation he had already gained with his work “Prinzessin Brambilla”, as being a very promising and emerging newcomer talent. By 1914, nearly two thirds of the screenplay to “Die Vögel” existed, however due to the war the completion took until 1919. After the opening night in Munich, the reviewer Alfred Einstein was greatly impressed by the musical elocution of the opera. „One can see that this isn’t just a text and a story plot that are plainly “composed“, to which one can make music. It’s a lot more than that; the text is the soul of the music, picturesque, words and music are inseparable. The big secret held within, is the fortune of personality, just to take an issue and to which the music naturally and compassionately enters an affair. Overall Braunfels has succeeded in moulding, overall and in detail his “play“ to meet his personal musical needs. How full does yet the prelude hit the enchanting, the romantic chord of the play at the sound which arises every time the Nightingale appears and in the course of the second act, rises to a sensual and spiritual love scene. A scene that - since the second act of “Tristan“ - has never met the likes of it again! The similarity to Tristan even continues: the climax of the scene, the song of the blossoming fl owers does not comprehend into exhilaration, it shades into mystery and silence, myth – one of the many extraordinary gifts of this work”.

1 „Die Vögel“ op. 30, opera in two acts according to Aristophanes comedy, 1913–1919 prologue, autographic script, layout archive Bruse–Braunfels 2 Walter Braunfels, around 1920 3 Leo Pasetti, stage draft, opening night „Die Vögel“ Bavarian National Theatre, 30 November 1920 1 2 „First act: rocky mountain area with a lot of shrubs not many trees, pictured at midday“ 3 14

„Die Vögel“, 1920

The enormous success of the opening night in Munich, resulted in Walter Braunfels being crowned as one of the mostly played opera composers of his generation in Germany and . In the years following the opening night, “Die Vögel” was performed on large stages such as in Berlin, Stuttgart, and Vienna, as well as many mid-sized opera houses throughout Germany. The performance was conducted by the most signi- fi cant conductor of the 20th century. One year after Bruno Walter conducted the opening night in Munich, Otto Klemerer adopted “Die Vögel“ to the house in which his wife, Johanna Geisler, sung the role of Nightingale. This stage production, as well as “Der Schatzgräber” by Franz Schrekers, was valued as being the most successful event held in Cologne during 1921/22. Even though Walter Braunfels succeeded a breakthrough as opera composer with “Die Vögel“, this must not hide the fact that the period after the First World War was not benefi cial for new works of arts. Due to the infl ation, which culminated in the complete invalidation of the German currency in 1923, the opera houses lost their traditional guests. The decreased number of visitors, as well as the reduced number of performances held, caused aggravated circumstances for newly released performances. In order to reach the necessary broad effect, it was essential to be classed as a repertoire. Exemplary for the economic crisis of the time is the performance of “Die Vögel” in Breslau on January 26th 1923, where the text books persisted: Upon the opening night on 26 January 1923 they were charged with 400 RM, whereas during the sixth performance in April of the same year, the text book was already charged with 1500 RM. Hence, many opera houses were temporarily closed down.

1 (Breslau 1885–1973 ) conductor of the debut performance in Cologne on 11 November 1921 2 Johanna Geisler (Hannover 1888–1956 München) Soprano as Nightingale for the debut performance in Cologne 1 2 3 Scene photo „Die Vögel“, 1930/ 31 reopening of the opera in 1921 3 16

„Don Gil von den grünen Hosen“, 1924

On November 15th 1924, Hans Knappertsbush – Bruno Walter‘s successor as General Musical Director at the Munich National Theatre - conducted the debut performance of “Don Gil von den grünen Hosen”, which was Walter Braunfels fourth opera. In the course of one season still, the musical comedy experienced premieres in the State Theatre Stuttgart, in Barmen/ Elberfeld, Münster, Breslau, as well in Vienna. “Finally, in May, our State Opera house presented an innovation to us … fi nally a work of art, which tells the world about the new creativity in Germany. And look! against all prophecies and reassurances (by the management board) that Vienna was against a new modern opera, the performance was extremely successful. “Don Gil von den grünen Hosen”, the new opera by Walter Braunfels has helped to do so”, commented by Paul Stefan who was Chief Publisher of the leading musician’s newspaper the Musikblätter des Anbruch. Also Paul Amadeus Pisk, one of the founders of the association, “Gesellschaft für Neue Musik” (Association for New Music) is quoted as being happy with “the new start” the boldly took with performing „Don Gil“ and Braunfels perfect interpretation “will never see the likes of it – in perfection”. “Think about the philharmonic orchestra, the staff of exquisite singers and dancers … especially as Juana, voice of perfection, portraying the loving wife and the cooing squire, both equally delightful”. The echoes from Munich were just as appraising, the audience requested the composers stage presence “who had been called even before the fi rst act ended”, with standing ovations and the fi nal curtain call with “rapturous applause for all actors and involved that united them countless times on stage“.

1 Opening night of the opera „Don Gil von den grünen Hosen“ 15 November 1924, play bill Bavarian National Theatre 2 Hans Knappertsbusch (Elberfeld 1888–1965 München) 1922–1935 general music director of the Bavarian National Theatre conductor of the opening night 3 Lotte Lehmann (Perleberg 1888–1976 Santa Barbara, California) soprano, sang Donna Juana on the opening night of Don Gil in the Vienna state opera house on 5 May 1925 1 2 4 Karl Erb as Don Gil at the debut performance in Munich 3 4 18

„Don Gil von den grünen Hosen“, 1924

In view of the upcoming premiere of „Don Gil“,Bruno Walter wrote to Walter Braunfels in July 1924:„So! My friend Rudolf Krasselt, Director of the opera house in Hanover and his Chief Director Dr. Winckelmann would be really pleased to have the opening night of your “Gil” in Hanover. Yesterday I solemnly promised both gentlemen to address the issue to you … Krasselt is an exceptionally serious musician and conductor. As far as I have heard, Winckelmann is considered an intellectually gifted director. Remains the main question if the work can be occupied”. They could, nonetheless Braunfels decided to host the opening night in Munich. Leo Pasetti was the responsible costume designer in Munich, who was known to strongly stress the aspect of the Commedia dell’arte. Pasetti had also created the scenery for the performance of “Don Gil” at the opera house in Hanover on 28 March 1925, the costumes for the Hanover performance were created by Hermann Ebert. The scene shot, which was taken in October 1929 on the occasion of the opera resumption after the general dress rehearsal, shows from left to right:

Max Adrian as Don Manuel (alias Don Gil), Wilhelm Patsche as Don Pedro (Father of Donna Ines), Hertha Stolzenberg as Donna Ines, Gertrud Schmidt– Gerlach as Donna Clara, Base von Ines. The opening night photo in Munich shows from left to right: Hedwig Fichtmüller as Donna Clara, Julius Gleß as Don Pedro, Karl Erb as Don Manuel, Joseph Burgwinkel as Don Rodriguez, Elisabeth Feuge as Donna Ines, Aline Sanden as Donna Juana.

1 Scene photo „Don Gil“, Städtische Oper Hannover, 4 Oktober 1929 reopening of the enactment in 1925/26, 1. act, picture 3, scene in the park 1 2 Scene photo „Don Gil“, Bavarian National Theatre opening night on 15 November 1924, 2. act, 1. scene 2 20

„Don Gil von den grünen Hosen“, 1924

Walter Braunfels described his interpretation of the 17th century Spanish comedy „Don Gil de las calzas verdes“ as being a “mix between cheerful and serious”. The script was created between 1921 and 1923 basing on a libretto by Braunfels. Subsequent to the opening night held in Munich in November 1924, the opera was taken over by primary stages and held its ground in the repertoires with eighteen performances throughout, between Cologne and Königsberg. In Vienna, Elsa Bienenfeld raved: “The melody blossomed and lances with a fi ne theme the entire opera, as if it were a symphony … As the play draws you deeper into the evening, the masquerade becomes a true parable and the feeling in the air on the sceptic modern stage can be described as if the blue fl ower of romance had started blossoming again”. In the new production of his operas, which he frequently conducted himself, he was equally personally involved. Walter Braunfels even attended the dress rehearsal in Hanover of „Don Gil“ on its resumption. At this point, a picture was taken, which shows all people involved in this opera. Only Leo Pasetti, costume and stage designer for Hanover and Munich was missing.

1 After the dress rehearsal for the resumption of „Don Gil“ on 4 Oktober 1929 at Städtisches Opernhaus in Hanover, middle: conductor Rudolf Krasselt, Walter Braunfels and the director Hans Winckelmann 2 „Don Gil von den grünen Hosen“ op. 35 Musical comedy in three acts, from the Spanish after Tirso de Molino, 1921–1923, autograph script, prelude Bavarian National Library 3 Leo Pasetti, stage design „Don Gil“, opening night Bavarian National Theatre, 15 November 1924 I. act, 1. scene: „small courtyard in a suburb of Madrid. 1 2 on the side a small pub, with stairs leading up. in the background a bridge, set at dusk“ 3 22

Symphonic and vocal symphonic works and their interpreters

Walter Braunfels breakthrough in the concert halls, as well as an opera composer, were affected by Bruno Walter‘s work in his role as General Music Director in Munich. Their decades of close collaboration started at the end of 1916, when young Delia Reinhardt changed from Breslau to Munich. On glancing back into this period of his life, Walter frequently mentioned “often the interest for strong characters when selecting artists for my innovations and novelties”. In written correspondence to Walter Braunfels, Walter stated: “Personally I am very pleased to be given the opportunity to present your Chinese singings this season, now that I have the appropriate singer. No doubt you have already heard many wonderful things about Miss Reinhardt, who will sing… Hopefully you will fi nd the time to attend the performance”. On 13 March, Alfred Einstein reported about the concert night at the Munich Odeon. This being the fi rst of 37 reviews which the prominent music academic and critic Einstein dedicated, until spring 1933 when both, Braunfels and Einstein were banned from the musical life in Germany: “The evening has indeed brought forth novelty, three Chinese singings for high-pitched female voices and an orchestra (according to poems by Hans Bethges Chinese fl ute) op. 19 by Walter Braunfels have already had, as far as I know, their opening night at the Essener Tonkünsterfest in 1914 ( music festival). No doubt, Braunfels was allured by the exotic, primitive, strong, the complexion of the feeling and the lure of the colorit all equally. However seldom have I experienced something as tender, veiled as both singings of yearning something as perfectly cast as the third piece. It may be studies, for my sake, consider them studies of Strauß, but they are studies of a master. Justifi ably Delia Reinhardt reached a triumph with her singing, the accompanying orchestra by Walter was equally captivated magic”.

1 Home leave 1917, Walter Braunfels and his three children 2/3 „Drei chinesische Gesänge für hohe Frauenstimme und Orchester“ op. 19 conductor Bruno Walter, soloist Delia Reinhardt programme of Munich‘s opening night on 12 March 1917 1 2 4 Delia Reinhardt (Elberfeld 1892–1974 Arlesheim, Switzerland) Soprano, 1916–1923 member of the Bavarian National Theatre 3 4 24

Symphonic and vocal symphonic works and their interpreters

In the early twenties, Alfred Einstein described Braunfels in a report about the modern music in Munich (for the magazine “Der Auftakt“) as “one of the biggest talents that Germany has to offer”. The cornerstones of Einstein’s legislation was the “turbulent choral composition as in “Offenbarung Johannis cap.VI.””, which had its opening night in 1910 in the course of the Tonkünstlerfest (Tone artist festival) Zurich, under the lead of Volkmare Andreae. Out of all the periodic composers, Braunfels valued Hans Pfi tzner’s work the most. Vice versa, Pfi tzner was equally interested in the works of the young Braunfels and he frequently expressed that he would enjoy leading the opening night of one of his works. From Straßburg, where Pfi tzner lead the symphony concerts of the Straßburger Philharmoniker (Straßburg Philhar- monic Orchestra), he wrote to Braunfels in October 1910: “Your Macbeth interpretation has been duly received and it has been a great pleasure for me to play them, but some notes leave me doubting.” On 19 October, he addressed Braunfels once again: “I haven’t entirely given up on Macbeth and it is my preferred choice, especially considering it would be a opening night. Awaiting your reply of how the written material is coming along and if you can provide for at least good and faultless voices”. Nonetheless, Pfi tzner never conducted an opening night of Braunfels, the supposed last concert on whose occasion a work by Braunfels was played, was conducted by Pfi tzner in 1920 in Munich. Closer and permanent connections developed between Braunfels and the generation of same-aged conductors, which, like before and during the First World War, enhanced their concert programmes with Braunfels music.

1 Hans Pfi tzner ( 1869–1949 ), composer and conductor 2 „Ariels Gesang“ op. 61, brochure of the premiere in Munich on 25 February 1920, conductor Hans Pfi tzner 3 „Offenbarung Johannis“ op. 17, autographic script, archive Bruse–Braunfels 4 Fritz Busch (Siegen 1890–1951 ), conducted the opening night of 1 2 „Die Vögel“ in Stutgart in 1921 and the opening night of the „Don–Juan Variationen“ in 1927 3 4 26

Symphonic and vocal symphonic works and their interpreters

In reviewing the concert season 1919/20 in Munich, Alfred Einstein wrote for the Frankfurter Zeitung that “two events were of fi rst degree“: the German premiere of ‘Fantastische Erscheinungen eines Themas von ‘ by Walter Braunfels‘ which I consider in short the most outstanding symphonic work of the previous decade, as well as the Gurre-songs by Arnold Schönberg…“ All in all, Braunfels has created „a magnifi cent symphonic composition that can be compared with the closeness of a building, a volume of content, a human experience, a musical event”. The performance was a “true masterpiece by Bruno Walters and his orchestra, staggering freedom and certainty, impact and acuteness, all at once”. The dazzling effect upon critics and the audience was later tried to be reached by Bruno Walter in and New York, while the composer consi- dered after the success in Munich whom he wanted to entrust the opening night in Berlin, the experienced grand old man or the young Wilhelm Furtwänger, who insistently addressed Braunfels: “I have just received your telegram and according to your request, I shall instantly hand out the manuscript to Nikisch. At this point however - after all performance intententions that have fallen through - I would like to mention, you may have heard the news already, that I will be taking over the concerts at the Berlin opera house and would emphatically like stress that I would be honored to hold the Berlin opening night … Should you intend to appoint Nikisch, please allow me to object and state that you would be signifi - cantly better off assigning me considering correctness and quality of the performance and experiences young composers have made in trusting N. in general. Nonetheless, Braunfels decided for Nikisch, who conducted his “Phantastische Erscheinungen“ with the and the Gewandhausorchester (concert hall orchestra) in just like before his Carnival overture..

1 Arthur Nikisch (Lébényi Szent Miklós, Hungary 1855–1922 Leipzig), 1895–1922 concert hall master and chief conductor of Berlin Philharmonic Orchestra 2 Bruno Walter (Berlin 1876–1962 Beverly Hills), 1913–1922 general music director at and Head of the Academy–concerts 3 „Phantastische Erscheinungen eines Themas von Hector Berlioz“ op. 25 Programmme of the opening night in Munich by Bruno Walter 1 2 4 „Phantastische Erscheinungen eines Themas von Hector Berlioz“ op. 25 Programme of the opening night in Amsterdam by Bruno Walter 3 4 28

Symphonic and vocal symphonic works and their interpreters

„Phantastische Erscheinungen“, written between 1914 and 1917, was the fi rst of Walter Braunfels works which was performed beyond the German speaking area. Around one and a half years after the opening night which was held in Zurich by Volkmar Andreae, as well as the spectacular debut performance in Munich by Bruno Walter, Leopold Stowoski presented the work in New York in October 1921 on the occasion of a concert with the (). Stokowski, who had led the leading orchestra since 1912 and formed it an internation top-class orchestra, made history in the modern American music with his wholehearted dedication. In March 1925, Braunfels “Phantastische Erscheinungen” was again presented at the Carnegie Hall, conducted by Bruno Walter, however falsely claimed as the opening night. Walter announced his intention to perform in Amsterdam and New York by questioning Walter Braunfels: “Do you have something new - orchestral?” When questioning for novelties, the barrier proved to be that “Phantistische Erscheinungen” was opposed of all repertoires. Conductors, as well as the audience of this time of nearly inexhaustable creative virility, tirelessly welcomed opening nights and debut performances, however they were reluctant in accepting these works in the long run. A very good example of the dominating interest in refreshingly different modern music, especially in the operatic area, was set by the Leipziger Tagesblatt on December 24th 1923. In total 15 short interviews were listed, including with Walter Braunfels, headlining: “What our composers write”.

1 „Phantastische Erscheinungen eines Themas von Hector Berlioz“ op. 25 Programme of the performance debut in New York, Carnegie Hall,18 October 1921 conductor 2 „Phantastische Erscheinungen eines Themas von Hector Berlioz“ op. 25 Programme of the performance, Carnegie Hall, New York, on 12 March 1925 1 2 conductor Bruno Walter 30

Symphonic and vocal symphonic works and their interpreters

The relationship between Wilhelm Furtwänger and Walter Braunfels remained distant for their lives, because the composer had married Bertele von Hildebrand, who at the time was engaged to Wilhelm Furtwängler. Three years after both had passed away, Bertele Braunfels described her fi rst encounter in December 1900 with “Willy”, who was the same age as she was: “I saw the young Furtwängler again when he was fourteen years of age … He was full-grown (going on fi fteen), very slender and tall, with blond, wildly curly hair, very strong eyebrows and a fascinated fi re glance in his eyes … He had something heroic and left a very good impression on me…In the following winter, our engagement was announced… We resembled two gypsies, moving through the country deeply in love. Not entirely immersed in each other, but in the wonderfulness we were surrounded by. Our mainland was the music, through which he guided me”. After fi ve years, we felt the “agony of such a long wearing engagement, were fi nally ready for marriage, but much too young… he wrote a lot less than he used to, visited us for Christmas and a few days later he dissolved the engagement…suddenly he woke up and that was horrid…He wrote: Everything I said about leaving was wrong, I want to see you again as soon as possible, I will not give up on my hope”. Furtwängler’s attempts in courtship remained unsuccessful. In the meantime, Bertele von Hildebrand had turned to Walter Braunfels and they got married in 1909. The letters which Willy and Bertele had written, during their engagement - when looking back, they called them marriage - were kept and treasured by both.

1 Bertel von Hildebrand (1886–1963), nicknamed Bertele, since 1909 wife of Walter Braunfels during her engagement period to Wilhelm Furtwängler 2 Wilhelm Furtwängler, nicknamed Willy, was engaged to Bertele von Hildebrand from 1901–1906 1 2 3 The conductor Wilhelm Furtwängler (Berlin 1886–1954 Baden–Baden), around 1925 3 32

Symphonic and vocal symphonic works and their interpreters

Wilhelm Furtwängler was sincerely interested in Walter Braunfels symphonic works, which was clearly proved for the fi rst time in 1920, when he expressed the desire to hold the opening night of “Phantastische Erschei- nungen” and their successful debut performances in Frankfurt am Main and Vienna. Hence it was self-evident that Braunfels would appoint Furtwängler to perform the opening night of his “ Variationen” in Berlin. At this time, Furtwängler was chief conductor of Berlin’s Philharmonic and of the Concert Hall in Leipzig. In accordance to Braunfels request, the opening night of the “classic romantic phantasmagoria” (subtitle) of “Don Juan- Variationen”, was held in Leipzig. On November 17th 1924, only four days after the opening night, Furtwängler presented this opera within the scope of his Philharmonic concert in Berlin. On March 17th and 18th 1927, this opera was also integrated into his performance with the orchestra of the Philharmonic Society of New York. The letters the conductor addressed to the composer in 1922 foresha- dowed how emotionally hard it was to work together: “By the way I have heard about your mocking of my `so-called composing` …I would not have expected this... from someone like you. But in the meantime, I have learnt to adjust: My composure as conductor towards the composer Braunfels will not be infl uenced”. And a few weeks later: “When writing a sensitive letter to you in summer with reference to my compositions this was rather referring to your attitude towards me as a person, for which you as you correctly write `have your reasons`”. The last opening night of Walter Braunfels works which Wilhelm Furtwängler presented, was the „Konzert für Orgel, Knabenchor und Orchester“ op. 38, composed in 1927. It was a dedication to the organ virtuist Günther Ramin, who was from Leipzig.

1 „Don Juan–Variationen“ op. 31, Programme of the New York debut performance in the Carnegie Hall, 17/18 March 1927, conductor Wilhelm Furtwängler 2 Wilhelm Furtwängler (Berlin 1886–1954 Baden–Baden), since 1922 director of the Concert Hall Orchestra Leipzig and the Berlin Philharmonic Orchestra 3 Günther Ramin (Karlsruhe 1898–1956 Leipzig), organist of St. Thomas Church 4 „Konzert für Orgel, Streicher, Blechbläser, Pauken und Knabenchor“ op. 38, 1 2 Programme of the opening night in Leipzig Concert Hall on 23 February 1928 conductor Wilhelm Furtwängler, organ Günther Ramin 3 4 34

Symphonic and vocal symphonic works and their interpreters

Walter Braunfels merged as one of the most played composers of that time, he was one the peak of his career, when the Chief Mayor of Cologne , offered him and the position of Musical Director of the planned Staatliche Hochschule für Musik (Federal Academy for Music). Braunfels chose to leave Munich where he had lived for 25 years and moved to Cologne to take this opportunity. The grand opening of the second Prussian Academy of Music was held on 5 October 1925. Their founders, Walter Braunfels and Hermann Abendroth who grew up together in Frankfurt am Main and studied in Munich at the same time, were bound by a long term friendship. In 1925 Abendroth was able to continue his career in general, as since 1915 he had worked on his own as conductor of the Gürzenich orchestra at the Cologne Conservatorium, which was the predecessor of the Academy. Braunfels on the other hand, had to adjust to this new situation. He had hardly any time to compose, additionally he described his work as “ a gearbox which had been functioning in this manner since 75 years”, leaving him very little room to manoeuvre. Opportunities arose for Braunfels in the area of recruiting. Braunfels gained the pianist Eduard Erdmann, the cellist Paul Grümmer and violist Bram Eldering for the Academy, which soon enough had an international reputation. However, he could not realise his dream of engaging Bruno Walter for Cologne. In May 1925, Walter wrote to Braunfels: “In a hurry, but just to let you know my choice is Berlin”. Equally unsuccessful, for different reasons each, was Braunfels’s plan to gain the well-known musicologists Alfred Einstein and Ernst Kurth for Cologne. Despite all his verve Braunfels took negative stock of his time in Cologne as he states: “for me personally, the time I spent in Cologne gave me very little and my creative composition began to disappear”.

The directors of the newly founded State Academy for Music in Cologne Walter Braunfels (1882–1954) and Hermann Abendroth (1883–1956) Left the composer and conductor Ernst von Dohnanyi (1877–1960) Suggestions are made that this photo was taken in the course of the 100th anniversary of the Cologne concert society on 28 June 1927 36

Symphonic and vocal symphonic works and their interpreters

Braunfels conversion from Protestantism to Catholicism proved a big turning point in his life, which was preceded by a religious awakening ín the following of an injury he encountered as a soldier at the front line in February 1918. His “Te Deum” op. 32 was composed in 1921, showed his passionate commitment to Catholicism. Quite frequently he emphasized that the oration was written “not as music for musicians, but as a religious avowal”. Despite its characteristics as Confessio, “Te Deum” was created for the concert halls and not as liturgical piece of music. The vast response this work from Braunfels‘ mind had received at the opening night in Cologne, proved to be promising advertising material for the Universal-Edition. The leading publishing company for periodic music in Vienna had already signed Braunfels in 1919. It is a fact that the impact of “Te Deum” in view of the commercial attendance was indeed nearly higher than “Die Vögel”. .

Promotion sheet of the Universal–Edition, leading publishing company for periodic music in Vienna - „Te Deum“ op. 32 by Walter Braunfels 38

Symphonic and vocal symphonic works and their interpreters

That the opening night of „Te Deum“ op. 32 was to be held in Cologne by Hermann Abendroth was quickly decided. In April 1921, the Cologne General Music Director asked his school day friend Braunfels to: “arrange that the performance can be held on 27/28 February (1922) … I need to have the choir material by beginning of January. How long will “Te Deum“ play?-please be as precise as possible! Do you have any preferred ideal soloists in mind? Will, next to the “Te Deum“ still be time and space for the Berlioz Variationen, you would then conduct? Would you rather like play the piano or conduct?” The premiere took place on February 22nd 1922 and the composer at the beginning had the role of the soloist in Mozarts Piano concert d-moll, KV 466. Five years later, Abendroth conducted one of Braunfels premieres for the last time, with whom he led Colognes Music Academy since 1925. In May 1933, when the Nazi’s sacked Braunfels, they separated. Only in May 1950, on the occasion of the 100th anniversary of the Cologne conservatorium, the two old friends were reunited. Braunfels had returned to his original position, on the request of chancellor Adenauer, had also invited Abendroth to this event to Adenauer‘s discontent. In the meantime Abendroth, who was the music director in and music director of the central German broadcast, an exponent of the German Democratic Republic, effusively thanked Braunfels: “These 10 days... have proved to be the largest and most uplifting event I have experienced since making music … You helped me experience this … You had the idea of inviting me to this anniversary… You have made our former common work with its sometimes very moved pounding of the waves reappear in a mostly harmonic set of memories and put us into just and valid perspective. ”.

1 Hermann Abendroth (Frankfurt a. M. 1883–1956 Weimar) 1922 as general music director in Cologne 2 „Große Messe“ op. 37, Programme of the opening night on 22 March 1927 in Cologne Gürzenich, conductor Hermann Abendroth 3 „Te Deum für Sopran und Tenorsolo, großes Orchester, Chor und Orgel“ op. 32 Manuscript (Blackboard), Universal–Edition, Vienna 1 2 4 Hermann Abendroth and Walter Braunfels, May 1950 in Cologne 3 4 40

„Galathea“, 1930

In autumn of 1928, Walter Braunfels was still working on his opera „Galathea“, as Bruno Walter signalled that he wanted to perform this opera in Berlin. The world famous conductor, who had been Art Director of the Städtische Oper (now: Deutsche Oper) in Berlin since 1925, wrote to Braunfels: “Dear friend Braunfels … I am very interested in your latest opera. I consider the subject `Acis and Galathea` to be the most fortunate I can imagine and I am very optimistic of its success. Holding this opening night would be considered the greatest gift for me”. Unfortunately this plan failed in 1928/29 when Bruno Walter surprisingly left Berlin at the end of the season. As a result, the opening night of “Galathea” was held in January 1930 in Cologne, by Eugen Szenkars. The debut performance in Berlin in the following year caused mixed reactions. Silvia Baltus as libretto was harshly critisized, whereas Braunfels music received the highest acknowledgement: “It shows the signature of a true master, has genuine style and character, striking pose, shows enthralling wealth of ideas and design art. It uses modern trends suffi ciently to appear fashionable but is never snobby“as summarized by Hugo Leichtentritt, who was a music academic, for the magazine Die Musik (the music). Enthusiastic praise was given to Maria Ivogün as well, who was Walter Braunfels inspiration behind the “Galathea”. Alfred Einstein, leading music critic, agreed with his colleagues when he praised: “You can only but speak of Maria Ivogün in the role of the Galathea in hymnal tones. Perfect canto, perfect performance, divine and at the same time childlike being, rounded off with physical grace.”

1 Sheets of the Städtische Oper, February 1931 2 Maria Ivogün, Galathea in the Berlin debut performance 1 2 3 debut performance of the opera „Galathea“ op. 40 on 25 February 1931 Theaternotes of the Städtische Oper Berlin 3 42

„Galathea“, 1930

The guidelines which Walter Braunfels had set up for the scenic implemen- tation of Galathea, led in Berlin and Munich to basic similarity, whereas Emil Pretrorius version more closely resembled the intention of the composer. Own design concepts and requests of the composer were drawn up by the director in Berlin, Otto Krauss, in a letter to Emil Preetorius: “Enclosed are a few mediations. The three small fauns at the beginning (situated left from the audience) as comical silhouettes on boulders sugge- sting they could make bizarre jumps. The Cyclops from below is good. Should appear sleeping as a colossus against the horizon or sitting on the ridge of his rock? (above the cave). Now the ocean. Suggest silver veils?! Galathea and the nymphs could appear from below … fl oating. Effectively a smooth table-like area. 2. picture: Background of the mountan range (lower part) fairly narrow and in fact curved …, upper part of the pass with view of the horizon, so that the fl ock is driven through the Cyclops legs. Braunfels sets high value of the large barrel … which should be tiltable by 20°, the swigging Cyclops needs to make an appearing. The wine stream should be of dark red tarlatan, moved by a fan like our stilistic fl ames in Samson. So in a hurry today. Premiere today `Vert. Rollen`“. The stage was generally convincing. For the Berliner Tagesblatt, Alfred Einstein summarized his impression: “Surely Emil Preetorius has proved his most fi ne skills with the stage set, an unreal classic landscape, neverending culture, Cretan gowns and robes for the nymphs, Poussins damped colour, which is not the ancient world but which wakens a craving for the ancient world, in total harmony with the music.

1 Emil Preetorius, stage set draft, debut performance „Galathea“ Städtische Oper Berlin, 25 February 1931, 1. picture 1 2 Leo Pasetti, stage set draft, debut performance „Galathea“ Bavarian National Theatre Munich, 15 May 1931, 1. picture 2 44

„Prinzessin Brambilla“, 2nd version 1931

„A fantastic work of effusive youth does not become modern but only now it is completely alive ” was Alfred Einstein’s short comment about “Prinzessin Brambilla” at the opening night on 16 September 1931, held in Hanover. General thoughts of the critic regarding position fi xing of the opera composer Braunfels were added: “With “Prinzessin Brambilla”, Braunfels has challenged the chords for the fi rst time, which he, softer or more resonant, has touched again and again: turning these into timeless but unfashionable operas, opera as a cause for music, opera as a game of fantasy. His position is not entirely unhazardous. Approaching his fi fties, he seemed to be resting between two stools, the old and younger generation, the youngest and most modern of which classify his work as “oldie”. Anyway he stands far away from the group that nonetheless defi nes today’s modern and fashionable music like Hindemith, Krenek, Weill. Braunfels‘ opera is never a documentation of time. It is an island, an opera orplid and referring to Orplid you never know if it is close or far away. As you never know what is right: the contemporary or the timeless issue: It depends on their degree of liveliness, even the timeless can be lively. And is then carried away by a palmtree”. Einstein witnessed the performance with a great éclat: “The performance in Hanover can only be praised most profusely, yes I am in awe. You can feel the spirit of activity hovering above the stage. Not poor or unreachable, not exaggerated or eccentric. One singer attracts attention: Tiana Lemnitz, with exquisite warm, youthful at all times stable voice …. Rudolf Krasselt brings out the best of rhythmical fi re, has found the perfect tone”. Einstein’s overall summary: “Prinzessin Bambilla would truly be appealing to the greatest director, , who would perform this work even without a pause, as phantasmagoria, as the most coincidental, cheerful, rhythmic opera that may have ever appeared on stage.”

1 Opening night rehearsal of „Prinzessin Brambilla“ op. 12b Piano: Rudolf Krasselt, 1924–1943 general music director and arts manager of Städtische Oper Hanover 2 Scene photo „Prinzessin Brambilla“ op. 12b, opening night Hanover, 1 16 September 1931, Musical Lead Rudolf Krasselt, Director Hans Winckelmann, Sequence Design Kurt Söhnlein 2 46

Ostracism and eviction

In 1933 the Nazi’s took over Germany, which proved to be a turning point in the life of Walter Braunfels. In March 1933, all Jewish teachers and students were banned from the Academy. According to the Nazi classifi - cation, Braunfels was considered a “half-Jew” and as a result, suspended from his position as director on 24 March 1933. On 7 April 1933, the process of repression and reformation led to the “Gesetz der Wiederherstellung des Berufsbeamtentums” (Law for the restoration of civil servants). This law “legally” empowered the political party and the state to dismiss civil servants, which were of “non-Aryan descent” or gave cause for serious concern of their “wholehearted dedication to the country”. In the course of the consistent application of this law, Braunfels was “suspended” from the university, additionally the declared his retirement. All of Braunfels works underlied a performance ban, in addition public appearances as a pianist, as well as teaching, were strictly forbidden by the Nazi’s as since September 1933, Braunfels was classifi ed as a “half- Jew” and as a result he was not allowed to join the “Reichsmusikkammer” (federal music board). The name Braunfels was even erased in all literature and reference works. The isolation from the industry was even effective outside of Germany, because the musicologists and critics that were familiar with his works were expelled. Just like Alfred Einstein, who had rendered homage to “Prinzessin Brambilla” in 1931, Paul Amadeus Pisk (1893-1990), Egon Wellesz (1885-1974) and Hugo Leichtentritt (1874-1951) emigrated. The exodus of the grand interpreters at fi rst from Germany and then from Austria in 1938, led to a permanent disappearing of Braunfels works. Many of these interpreters had successfully conducted “Die Vögel”, the “Don Gil” or the “Galathea” opera.

1 Alfred Einstein (1880–1952) 2 Egon Pollak (1879–1933), „Die Vögel“/ Hamburg 3 (1891–1977), „Die Vögel“; „Don Gil“; „Galathea / all Cologne 4 Bruno Walter (1876–1962), „Die Vögel“/ Munich 5 Fritz Stiedry (1883–1968), „Die Vögel“/ Berlin/ Vienna; „Galathea“/ Berlin 6 Fritz Busch (1890–1951), „Die Vögel“/ Stuttgart 7 Otto Klemperer (1885–1973), „Die Vögel“/ Cologne 1 2 8 Gustav Brecher (1879–1940), „Don Gil“/ Leipzig 9 3 4 9 Letter board of trustees, 2 May 1933: Suspension 5 6 10 10 Letter president of the music board, 5. Dec. 1938: occupational ban 7 8 48

„Der Traum ein Leben“, op. 51

Being evicted from his Cologne sphere proved to be a true relief for Braunfels, as can be read between the lines of his catalogue raisonné. Especially the works for stage created in only a short period of time hsow, that the years living in forced isolation between 1933 and 1945 proved to be his time of great creative productivity. Braunfels hoped to perform his new works and fully concentrated on Bruno Walter, who from 1936 was the director of the state opera house in Vienna. During a visit at their mutual friend‘s, in Winterthur, Braunfels was able to perform from a selection of his new compositions. On 20 August 1936, Bruno Walter announced his decision that “Ein Traum ein Leben op.51” was his preferred choice: “Of course I am nonetheless very interested in your orchestra suite, but “Der Traum” remains essential. Indeed I am contemplating a performance at the Vienna opera house. In your opinion, would the material be prepared, the piano excerpts written, orchestral voices tuned etc. by February or March?” The preparations to host the opening night of “Der Traum” where fast paced. Walter suggested a meeting on 5 March 1937 in Amsterdam: “Of course we would prefer if you could bring your script along … It would be early enough to sign the contract and as a result, ensure the completion of the material for the upcoming season.” After accepting Walter’s fi nal amendments, only the date of the opening night had to be fi nalised. “End of April would be very favourable for Vienna. Ebert replaceable and I would have enough time to conduct the necessary recurrences. However, the lead tenor is absolutely essential and we haven’t signed one yet. Should this situation remain unsettled, I consider a delay to October 1938 as unavoi- dable.” Germanys troop evasion on 12 March 1938, as well as the Austria’s annexation to the signed the following day, destroyed all hopes and plans that were upheld.

1 „Der Traum ein Leben“ op. 51, opera according to Franz Grillparzer 1934–1937, script draft, archive Bruse–Braunfels 2 Walter Braunfels in Anif near Salzburg, near June 1941 1 2 3 Bruno Walter at an orchestral rehearsal in Vienna, 1936 3 50

Inner emigration – „Verkündigung“ „Szenen aus dem Leben der heiligen Johanna“

Since late autumn 1937, Walter Braunfels who had spent the fi rst years of inner emigration in Bad Godesberg, lived in the small village of Süßenmühle near Überlingen at Lake Constance. In a letter to a close friend, he wrote: “we are very happy here, however completely abandoned from the world.” In 1938 his total isolation reached a complete new dimension. Since Austria attached itself to Germany and a fi nal occupational ban for musicians by the Musical Chamber of Germany Braunfels lost all hope of ever being able to perform one of his compositions. Bruno Walter who had left Austria on 26th December wrote a letter from Lugano to Braunfels: “Thank you for your kind words. Indeed a lot has happened since we last met and the year 1938 appears to be allowed to end unmourned. ...your infl exibility due to material reasons is completely comprehendible for me, unfortunately others are currently inaccessible for me. I am glad that you have found an occupation, more than ever I have recognised that work should be treasured as being a blessing.” Concentrating on religious subjects proved to be Walter Braunfels answer to his unpromising situation. The opera “Verkündigung” op.50 after ’s mystery play„L’Annonce fait à Marie“, was already composed in 1933-1935. While the world more and more went to pieces from 1937 to 1943, the opera “Szenen aus dem Leben der heiligen Johanna” op.57 was created in complete isolation. In summer 1940, when all of his three sons had joined the force and gone to war, the composer summed up his situation: “We are situated on a remote island, with a hurricane raving around us”..

1 Walter Braunfels and his wife Bertele at the waterside of Lake Constance Summer 1944 1 2 „Verkündigung“ op. 57, opera after Paul Claudel, 1933–1935, script (draft), archive Bruse–Braunfels 2 52

„Rather banished, than misjudged“

One year after the end of the Second World War, the opening night of the concert scene for soprano and orchestra „Tod der Kleopatra“ op.49 written in 1944, was held in the entirely destroyed city of Cologne under the lead of Günter Wand, who was the new director of the Gürzenich orchestra. Three years later, the opening night of “Sinfonia brevis” op. 69 followed. The young Cologne general music director in the fi rst post war years advocated the composers which were ostracized by the Nazi’s, putting in a lot of effort to regain normality. Additionally he was one of the few conductors performing Walter Braunfels works. Braunfels had also sent the script of “Sinfonia brevis” to his old companion Hermann Abendroth, who however indefi nitely put him off with: “To play your work is very appealing. However for the time being I am not in the position to make fi x promises for the upcoming season … As you surely are aware, it is my duty to perform a lot of Russian music and my freedom of movement is somewhat restricted in this regard.” Likewise in spring of 1948, Cologne presented the premiere of “Verkün- digung” starring Trude Eipperle in the leading role of Violaine, directed by Hellmut Schnackenburg. This high classed opera was used to honour the work of the composer, who was reluctant to return to his old domain already in autumn 1945 at the request of Konrad Adenauer and who had tirelessly dedicated himself to rebuilding the Music School of Cologne. However, the desired response of the audience was absent, which Braunfels was said to have laconically commented on: “rather banished that misjudged.”

1 „Tod der Kleopatra“ op. 49, Concert scene for soprano and orchestra Programme of the opening night in Cologne on 1/ 2 July 1946 conductor Günter Wand, soloist Walburga Wegner 2 Günter Wand (Elberfeld 1912–2002 Ulmitz/ ) 1946–1974 general music director and head of the Gürzenich concerts in Cologne 3 Walter Braunfels, 1948 4 „Verkündigung“ op. 50, opera after Paul Claudel 1 2 Ad of the Städtischen Bühnen Cologne for the opening night 4 April 1948 conductor Hellmut Schnackenburg 3 4 54

Last performances

On the occasion of the 70th birthday of Walter Braunfalls, his two most famous works written for concert hall were performed in his honour. In Cologne resounded the “Phantastische Erscheinungen eines Themas von Hector Berlioz” op.25, as well as the “Te Deum” op. 32. Günter Wand took the lead of the Kölner Rundfunksinfonieorchester (Cologne broadcast orchestra), the solo lead voices were performed by and Helmut Melchert. In Munich, honoured the composer by presenting “Weihnachtkantate” op.52, which Braunfels had created between 1934 and 1937. Annelies Kupper and Hans Braun were the soloists in Munich. When Braunfels died in 1954, however his works never experienced a true renaissance. In a memorial service to honour his fathers 80th birthday, Wolfgang Braunfels suitable states: “The aging was not lacking outer honour and acceptance”. However, his works were no longer understood. A younger generation and a new internationally oriented music having been forbidden at the same time as he was, had succeeded in coming to the fore and drawing attention only to themselves. The nation also mentally strived to unite in larger communities. In a time when the cultural heritage of the world was united and when Germany had given up reviving its lost spiritual physiognomy, a musician whose art was rooted in the grand 19th century, did not stand a chance”.

1 Festive concert on the occasion of Walter Braunfels‘ 70th birthday on 19. 12. 1952 from left: Günter Wand, Walter Braunfels, Leonie Rysanek, Helmut Melchert 2 Eugen Jochum (Babenhausen 1902–1987 Munich) 1949–1960 chief conductor of the symphonic orchestra of Bavarian broadcast 3 „Weihnachtskantante“ op. 52 1 programme of Munich‘s debut performance with the symphony orchestra of the Bavarian broadcast on 11/12 December 1952, conductor Eugen Jochum 2 3 56

International rediscovery

For decades the delayed reception of the Wiener Schule (school of Vienna) and the dogmatism which dominated, prevented discovering the new existing vanguard of the interesting and diversifi ed music in Germany before 1933. „Die Vögel“were performed in 1971 in Karlsruhe and in 1991 in , which were the initial attempts to return Walter Braunfels works to the repertoire of the opera. However in order to fully recover, a broader effect would have been necessary. The rediscovery of Walter Braunfels was triggered by and the RSO, who played the opera “Die Vögel” within the scope of the series “Entartetete Musik” (Recovered voices) for the label DECCA. The concert was held on 3 December 1994 at the large studio of the SFB. The CD, which in 1997 won the Prix Caecilia and also gained international acknowledgment and distribution, conjured up “Die Vögel” promptly in all places, where Braunfels‘ successful opera had already been performed in the 1920ies. For the fi rst time ever, this musical epos of the 20th century was pushed outside the German speaking area and motivated conductors and directors to perform the opera. This was clearly reached, as the opera was performed in Cologne, Vienna, Geneva, Freiberg/Sachsen, Cagliari and at the Spoleto Festival in Charleston, USA. The ultimate goal of the Decca Series according to Lother Zagrosek was “to encourage a certain group of composers, to rehabilitate their work and to give them the attention they deserve, from an artistic point of view”. Recently, initiated a large America wide campaign “recovered voices” and “Die Vögel” will be performed in Los Angeles. The once awakened public interest in the composer Braunfels did not end with “Die Vögel”: In 2001, Guido Johannes Rumstadt presented the opening night of “Der Traum ein Leben” in , more than 60 years after the opening night had been anticipated by Bruno Walter.

1 Lothar Zagrosek, conductor of the operatic concert „Vögel“, on 3. Dec 1994 with the symphony orchestra Berlin, in collaboration with the DECCA in the large studio of the Sender Freies Berlin 2 Marlis Petersen as Nightingale. Scene photo „Die Vögel“ Grand Théâtre de Genève, opening night on 24 January 2004 conductor Ulf Schirmer, director and stage production Yannis Kokkos 1 3 Scene photo „Die Vögel“, Volksoper Vienna, premiere 8 October 1999 2 conductor Guido J. Rumstadt, director Claes Fellboom; stage Werner Hutterli 3 58

„Szenen aus dem Leben der heiligen Johanna“ 2001

In 1994, Lothar Zagrosek induced the Braunfels-Renaissance, which was continued by Manfred Honeck in on 31 August 2001, when the opening night of the concertante performance of the opera „Szenen aus dem Leben der heiligen Johanna“ was held. “Being able to fi nally experience scenes of Walter Braunfels‘ opera, „Szenen aus dem Leben der heiligen Johanna“, was as if a missing puzzle piece was fi nally put in place. A piece you didn’t know it was missing”, the Stockholm Afton- bladet noted. Besides the marvellous Eric Ericson Chamber Choir, especially casting the lead role with the „perfectly confi dent Juliane Banse … the ultra-Catholic opera left a deep impression in the Protestant Stockholm” as quoted by the FAZ critic Albrecht Dümling. The performance in Stockholm was subsequently followed by the German debut performance which was held in Munich in 2001. The symphony orchestra of the Bayrischer Rundfunk (Bavarian broadcast) was led by Manfred Honeck. Vocals were performed by the Bayrischer Rundfunkchor (Bavarian broadcast choir). Besides the many excellent soloists Juliane Banse, like in Stockholm, convinced the audience with her “youthful soprano” in the lead of role of Jeanne d’Arc..

1 Juliane Banse took the lead role in the concert opening night of the opera „Szenen aus dem Leben der heiligen Johanna“ on 31 August 2001 in Stockholm as Johanna 2 „Szenen aus dem Leben der heiligen Johanna“ op. 57, 1939–1943 Script, I. part, 1. scene, Bavarian national library Munich 3 „Szenen aus dem Leben der heiligen Johanna“ op. 57, 1939–1943 Script (draft), Archive Bruse–Braunfels 4 Manfred Honeck, chief conductor of the Swedish broadcast symphonic– 1 2 orchestra lead the opening night of the opera „Szenen aus dem Leben der heiligen Johanna“ on 31 August 2001 in Stockholm 3 4 60

„Jeanne d‘Arc – Szenen aus dem Leben der heiligen Johanna“ 2008 In the meantime, Ulf Schirmer who had conducted the scenic debut perfor- mance of Braunfels great opera “Jeanne d’Arc”, has become one of the profoundest fanciers and interpreters of Walter Braunfels works. The perfor- mance of “Die Vögel” in Geneva was a jump start for him, an inspiration to put important compositions on CD. After arranging the “symphonic“ string quartet in a version for larger orchestras in close collaboration with Munich’s broadcasting orchestra, Schirmer started preparing the recording of CDs of the opera “Don Gil von den grünen Hosen” and “Verkündigung”. Christoph Schlingensief is the initiator behind the idea and concept of holding a scenic debut performance. Schlingensief, originally a fi lmmaker, performance artist and fi ne artist, theatre and opera director, held his spectacular opera debut of “” in in 2004. In 2007, he imple- mented “The Flying Dutchman” at the Teatro Amazonas in Manaus, Brazil. He fi rst encountered Braunfels when travelling through Nepal, where he experienced humans being burnt immediately after their death as a matter of course in public according to explicitly defi ned rituals. This impression led to the idea of performing Braunfels‘ opera in a similar ambiance, showing the ritualised, paradigmatic ordeal from the hospice to the public burning after death, since Jeanne d‘Arc already featured strong liturgical elements. His goal was to bring Jeanne d’Arc closer to our everyday life and death - as special as her fate might be. All the while, profane daily routines and sacral plots complementing each other.

1 Ulf Schirmer, conductor of the scenic opening night of „Jeanne d‘Arc – Szenen aus dem Leben der heiligen Johanna“ op. 57 on 27 April 2008 in the 2 Christoph Schlingensief, idea and concept of the performance 3 Thomas Goerge, stage design, scenic opening night „Jeanne d’Arc – Szenen aus dem Leben der heiligen Johanna“, Deutsche Oper Berlin, 27 April 2008 orchestration based on notes made by Christoph Schlingensief by Anna–Sophie Mahler, Søren Schuhmacher und Carl Hegemann 1 2 3

62

Walter Braunfels

19.12.1882 Walter Braunfels was born in Frankfurt a. M. son of the lawyer and writer Ludwig Braunfels and his second wife Helene, virgos Spohr 1885 Death of the father seit 1895 Student at the Hoch‘sches Konservatorium in Frankfurt a. M. 1901–1902 Academic studies of national economics and law at the universities in and Munich 1902–1903 Music studies in Vienna: Piano lessons by Theodor Leschetitzky, Theory by Karl Nawratil (also taught Arnold Schönbergs) from 1903 Lessons in composing by Ludwig Thuille in Munich 1905 Initial visits to the sculptor Adolf von Hildebrand 25.3.1909 Premiere of the opera “Prinzessin Brambilla” op. 12 acc. E.T.A. Hoffmann in Stuttgart under Max von Schillings 5.5.1909 Marriage to Bertel von Hildebrand 1910 Premiere of “Offenbarung Johannis” op. 17 for tenor, double choir and large orchestra in Zurich by Volkmar Andreae 1913 Starts composing the opera “Die Vögel” acc. Aristophanes 4.11.1913 Premiere of the opera „Ulenspiegel“ op. 23 in Stuttgart by Max von Schillings

1.8.1914 – 11.11.1918 First World War

1915 Co-creation of the New School for Applied Rhythm in Hellerau near Dresden Walter Braunfels is drawn into the army 1918 Front line service, injury, converted to Catholic creed

64 9./ 11.11.1918 Germany becomes a republic / Ceasefi re

19.1.1920 Premiere of “Phantastische Erscheinungen eines Themas von Hector Berlioz” op. 25 in Zurich by Volkmar Andreae 23.2.1920 whose German premiere was held in Munich by Bruno Walter 30.11.1920 Premiere of the opera “Die Vögel” op. 30 by Bruno Walter in Munich 28.2.1922 Premiere of “Te Deum” op. 32 by Hermann Abendroth in Gürzenich near Cologne 27.1.1923 Membership of Prussian Academy of Arts, Berlin 13.11.1924 Premiere of “Don–Juan–Variationen” op. 34 for large orchestra in Leipzig by Wilhelm Furtwängler 15.11.1924 Premiere of the opera “Don Gil von den grünen Hosen” op. 35 in Munich by Hans Knappertsbusch 1925 Walter Braunfels is called to Cologne to take position as Director of the 2nd Prussian Conservatoire 22.3.1927 debut performance of „Große Messe“ op. 37 in Cologne/Gürzenich by Hermann Abendroth 23.2.1928 Premiere of „Konzert für Orgel, Knabenchor und Orchester“ op. 38 with Günther Ramin by Wilhelm Furtwängler 26.1.1930 Premiere of the opera “Galathea” op. 40 in Cologne by Eugen Szenkar 25.2.1931 Berlin debut performance of the opera „Galathea“ by Fritz Stiedry starring Maria Ivogün as Galathea 16.9.1931 Premiere of revised version of the opera „Prinzessin Brambilla“ op. 12b in Hanover by Rudolf Krasselt

65 30.1.1933 Adolf Hitler appointed chancellor

24.3.1933 Dismissal from all public positions, retreating from the music in public. Move to Bad Godesberg 1933–1935 Composing the opera “Verkündigung” op. 50 acc. to Paul Claudel 1934–1937 Composing the opera “Der Traum ein Leben” op. 51 acc. to Franz Grillparzer 5.3.1937 Meeting with Bruno Walter in Amsterdam, who agrees to conduct the premiere of the opera “Der Traum ein Leben“ at Vienna opera houses, impeded by the „anexion“ of Austria 11.1937 Move to Überlingen, Lake Constance

12.3.1938 German troops invade Austria

5.12.1938 Final banishment of all public musical activities by the German music chamber 1938–1943 Composing the opera “Szenen aus dem Leben der heiligen Johanna” op. 57

1.9.1939 – 8.5.1945 Second World War

1943–1944 Composing the string quartets op. 60 and 61 1945 Composing the string quintet fi s–moll op. 63 12.10.1945 Return as director of the State Music Academy in Cologne 29.9.1946 Premiere of „Konzertstück für Klavier und Orchester“ op. 64 in Hamburg by Eugen Jochum, Soloist: Walter Braunfels 1948 Walter Braunfels announced President of Music Academy Cologne

66 4.4.1948 Premiere of the opera “Verkündigung” op. 50 in Cologne by Hellmut Schnackenburg starring Trude Eipperle as Violaine 4.4.1949 Premiere of “Sinfonia brevis” op. 69 in Cologne by Günter Wand

23.5.1949 Foundation of the Federal Republic of Germany 7.10.1949 Foundation of the German Democratic Republic

1950 Premiere broadcast of the opera “Der Traum ein Leben” op.51 on the Hessian radio, Frankfurt a. M. by Kurt Schroeder starring Annelies Kupper as Mirza/Gülnare 19.1.1952 Walter Braunfels holds his farewell concert in Cologne as pianist with D–Dur Toccata by Bach. Sonate op. 111 by Beethoven and the Liszt adaption of Orgel–Fantasie“ and Fuge g–moll by Bach 19.12.1952 Festive concert celebration for Walter Braunfels 70th Birthday by Günter Wand in Cologne “Phantastische Erscheinungen eines Themas von Hector Berlioz” and “Te Deum” starring Leonie Rysanek 22.2.1954 Premiere broadcast of the ballad of: “Der Zauberlehrling” op. 71 acc. to Goethe for NWDR Hamburg by Hans Schmidt–Isserstedt 19.3.1954 Walter Braunfels passes away in Cologne 24.5.2001 Scenic Premiere of the opera „Der Traum ein Leben“ op. 51 in Regensburg by Guido Johannes Rumstadt 31.8.2001 Concertante premiere of the opera “Jeanne d‘Arc – Szenen aus dem Leben der heiligen Johanna” op. 57 in Stockholm by Manfred Honeck starring Juliane Banse 27.4.2008 Scenic premiere of the opera “Jeanne d‘Arc – Szenen aus dem Leben der heiligen Johanna“ held at Deutsche Oper Berlin by Ulf Schirmer starring Mary Mills

67 Literature

Essentials to life and work of Walter Braunfels’ is the mongraph published in 1980 by Ute Jung, Walter Braunfels (1882–1954), Regensburg, 1980 Unprinted and printed sources: Estate Walter Braunfels, Bavarian national library Munich (Nl.W.B.) Estate Wilhelm Furtwängler, National library in Berlin, music department Braunfels, Bertele, Ein Brief an eine alte Freundin (1957), in: 2. Wilhelm Furtwängler–Tage, 26–29 November 1998 in and Weimar, Jena 1998, p. 23–52 Alfred Einstein, The critics, editor: Schmidt–Scheubel, Rolf, vol. I–VII, Berlin 2004 (Ms.) Musikblätter des Anbruch, Vienna 1919–1937 Walter, Bruno, letters, 1894–1962, Frankfurt a. M. 1969 Walter, Bruno, Thema und Variationen. Erinnerungen und Gedanken, Stockholm 1947 Literature: Festschrift 75 Jahre Hochschule für Musik Köln, Cologne 2000 Hammer, Sabine, Oper in Hannover, 300 Jahre Wandel im Musiktheater einer Stadt, Hanover 1990 Pollems, Katrin, Zeitlos unzeitgemäß, Der Komponist Walter Braunfels 1882–1954, Cologne 1992 Scharberth Irmgard, Gürzenich–Orchester Köln, Cologne 1988 Valder–Knechtges, Claudia, Provinztheater im Umbruch (1916–1928), in: Oper in Köln, Hrsg. Christoph Schwandt, Berlin 2007

Quotation reference p. 8: Max Schillings to Walter Braunfels, 8. 5. 1908, Nl. W.B., Ana 579, letters, 6–9 Max Schillings to Walter Braunfels, 25.4.09, Nl. W.B., Ana 579, letters, 6–9 p. 10: Alfred Einstein, Frankfurter Zeitung (Abendblatt), 4.12.1920 p. 12: Alfred Einstein, Münchner Musikwinter 1921–1922, in: Der Auftakt, Musikblätter für die tschechoslowakische Republik, 2. vol., 1922, H. 8/9, p. 220 Egon Wellesz, Die Vögel, Ein lyrisch phantastisches Spiel von Walter Braunfels, in: Musikblätter des Anbruch, 2. vol. 1920, p. 655 Alfred Einstein, Münchener Post/ Kunstschau (special edition of M.P.) no.46, 3.12.1920 Bruno Walter, Thema, p. 329 Alfred Einstein, Münchener Post/ Kunstschau (special edition of M.P.) no.46, 3.12.1920 p. 14: Alfred Einstein, Frankfurter Zeitung (Abendblatt), 4.12.1920 p. 18: Paul A. Pisk, Review (without reference), Nl. W.B., Programme und Kritiken, Ana 579. Paul Stefan, Börsen–Kurier, 12.5.25 Review Albert Noelte, München–Augsburger Abendzeitung, no. 315, 17.11.1924 p. 20: Bruno Walter to Walter Braunfels, Munich, 2.7.1924, Nl. W.B., Ana 579, letters, 6–9

68 p. 22: Walter Braunfels to Hans Reinhart, 7.6.1922, quoted acc.to Jung, p. 261 p. 24: Bruno Walter, Thema, p. 278 Bruno Walter to Walter Braunfels, Munich, 27.12.1916, Nl. W.B., Ana 579, letters 6–9 Alfred Einstein, Münchner Konzerte, Frankfurter Zeitung, 17.3.1917 p. 26: Alfred Einstein, Der Auftakt. Musikblätter für die tschechoslowakische Republik, 3. vol., 1923, H. 5., p. 127–130 Hans Pfi tzner to Walter Braunfels, 5. u. 19. 10. 1910, Nl. W.B., Ana 579, letters 6–9 p. 28: Alfred Einstein, Münchner Musikbrief, Frankfurter Zeitung (517), 1. Morgenblatt, 16.7.1920 Alfred Einstein, Münchner Konzerte, Münchener Post, 4.3.1920 Wilhelm Furtwängler an Walter Braunfels (undated, letterhead national theatre ), Nl. W.B., Ana 579, letters 6–9 p. 30: Bruno Walter to Walter Braunfels, Munich, 2.7. 1924, Nl. W.B., Ana 579, letters 6–9 p. 32: Braunfels, Bertele, S. 23–52 p. 34: Wilhelm Furtwängler to Walter Braunfels, undated letter „Zu Schiff auf dem Bodensee“, Nl. W.B., Ana 579, letters 6–9 Wilhelm Furtwängler to Walter Braunfels, St. Moritz, 19.7.1922, Nl. W.B., Ana 579, letters 6–9 p. 36: Zahn, Robert von, Erziehung durch die Musik, nicht nur zur Musik. Walter Braunfels und die Kölner Musikhochschule, in: Pollems, p. 32 Bruno Walter to Walter Braunfels, London, 30.5.1925, Nl. W.B., Ana 579, letters 6–9 Walter Braunfels, Lebensabschnitte, in: Zeitschrift für Musik, 97. vol. H. 6, Juni 1930. p. 437–439 p. 38: Walter Braunfels to Wilhelm Furtwängler, Holzen, 11.9.22, Nl. W.B., Ana 579, letters 3–4 p. 40: Hermann Abendroth to Walter Braunfels, 25.4.1921, Nl. W.B., Ana 579, letters 6–9 Hermann Abendroth to Walter Braunfels, 19.7.50, Nl. W.B., Ana 579, letters 6–9 p. 42: Bruno Walter to Walter Braunfels 31.10.1928, Nl. W.B., Ana 579, letters 6–9 Hugo Leichtentritt in: Die Musik 23. vol., 7.4.1931, p. 520 Alfred Einstein, „Largo und Vivace in der Städtischen Oper“, Berliner Tageblatt (Abendausgabe) 26.2.1931 p. 44: Brief vom 24.10.1930, Nl. W.B., Ana 579, letters 5 Alfred Einstein, „Largo und Vivace in der Städtischen Oper“, Berliner Tageblatt (evening edition), 26.2.1931 p. 46: Alfred Einstein, Berliner Tageblatt (438), 17.9.1931 Alfred Einstein, Berliner Tageblatt (evening edition) 18.9.1931 p. 50: Bruno Walter to Walter Braunfels, Salzburg, 20.8.1936, Nl. W.B., Ana 579, letters 6–9 Bruno Walter to Walter Braunfels, Vienna, 12.1.1937 Nl. W.B., Ana 579, letters 6–9 Bruno Walter to Walter Braunfels, Amsterdam, 19.2.1937, Nl. W.B., Ana 579, letters 6–9 Bruno Walter to Walter Braunfels, Salzburg, 26.8.1937, Nl. W.B., Ana 579,letters 6–9 p. 52: letter, Überlingen, 1.4.1938, quoted acc.to Jung, p. 291 Bruno Walter to Walter Braunfels, Lugano–Sorengo, 26.12.1938, Nl. W.B., Ana 579, letters 6–9 letter, Überlingen, 13.6.1940, quoted acc.to Jung, p. 295

69 p. 54: Hermann Abendrothto Walter Braunfels, 1.10.1950, Nl. W.B., Ana 579, letters, 6–9 quoted acc.to Jung, p. 299, comm. 7 p. 56: Quoted acc.to Jung, p. 300 p. 58: Interview with Lothar Zagrosek, in: KlassikAkzente, 31.10.2000

Captions Title, Walter Braunfels, 1948 Back cover „Szenen aus dem Leben der heiligen Johanna“, draft, Archive Bruse–Braunfels P. 4, Walter Braunfels at grand piano, 1952 P. 23, 1 Rear row (in costume) from left: Paul Wiesendanger als Don Rodriguez, Hans Schenke als Don Curzio, Max Adrian als Don Manuel (alias Don Gil), Hertha Stolzenberg als Donna Ines, Greta Günther–Spoel als Donna Juana (verkleidet als Don Gil), Wilhelm Patsche als Don Pedro (Vater von Donna Ines). Middle row (in plainclothes) from left: Prof. Rudolf Krasselt Dirigent, Walter Braunfels Composer, Dr. Hans Winckelmann Director. Front row sitting: Willy Wissiak as Caramanchell, Gertrud Schmidt–Gerlach as Donna Clara, Ines’Base, diguised as Don Gil. P. 46, 1 from left to right: Rudolf Krasselt Conductor; Josef Correck (Pantalone), Bariton, 1927–1948 in Hanover engaged; Carl Hauss (Der Schauspieler Claudio), Tenor, 1925–1953 engaged in Hanover; Curt Huxdorf (Gascon, an nobleman his friend) Tenor, 1924–1956 engaged in Hanover; Tiana Lemnitz (Giazinta, a young seamstress), Soprano, 1929–1934 engaged in Hanover.

Picture credits

Berlin, picture archive–PK, p. 17, 1; p. 33, 3; p. 35, 2; p. 49, 7 Berlin, Deutsche Oper Berlin/ Thomas Goerge, p. 63, 3 Berlin, Konzerthaus, Thomas–Mayer–Archiv, p. 57, 1 Berlin, Ullstein Bild, p. 19, 3; p. 27, 1; p. 29, 1; p. 49, 4, 8; p. 55, 2; p. 63, 2 Den Haag, Nederlands Muziek Instituut, p. 29, 4 Diessen, Juliane Banse, p. 61, 1 Düren, city archive, p. 9, 2 Frankfurt a. M., university library Johann Christian Senckenberg, p. 49, 2 Geneva, Grand Théâtre de Genève/ Nicolas Lieber, p. 59, 2 Hanover, theatre museum of Niedersächsisches Staatstheater, p. 21, 1; p. 23, 1; p. 47, 1,2 Karlsruhe, Max Reger Institute with Brothers Busch Archive, p. 27, 4; p. 49, 6 Cologne, University, dramatics collection, p. 17, 2, 3; S. 23, 3; p. 45, 1, 2; p. 49, 3 Leipzig, Gewandhaus, p. 35, 3, 4 Munich, archive Bruse–Braunfels, title; p. 4; S 7, 1, 2, 3, 4; p. 9, 1; p. 15, 1, 2; p. 19, 1; p. 25, 1; p. 27, 2, 3; p. 29, 3; p. 33, 1, 2; p. 37; p. 39; p. 41, 2, 4; p. 49, 9, 10; p. 51, 1, 2; p. 53, 1, 2; p. 55, 3, 4; p. 57, 1; p. 61, 3 Munich, Bavarian National Library, p. 9, 4; p. 23, 2; p. 25, 2, 3; p. 43, 1, 3; p. 55, 1; p. 57, 2, 3; p. 61, 2 Munich, Bavarian broadcast/ Christian Kaufmann, p. 63, 1 Munich, Deutsches Theatermuseum, p. 9, 3; p. 11; p. 13, 1, 2, 3, 4; p. 15, 3; p. 19, 2, 4; p. 21, 2; p. 25, 4; p. 29, 2; p. 43, 2 Munich, KünstlerSekretariat am Gasteig/ Toshiyuki Urano, p. 61, 4 New York, Carnegie Hall Archives, p. 31, 1, 2; p. 35, 1 New York, Archives, p. 49, 5 Northhampton, MA, Smith College Archives, p. 49, 1 Weimar, Hochschule für Musik Franz Liszt, Thüringisches Landesmusikarchiv, p. 41, 1 Vienna, Austrian National Library, p. 51, 3 Vienna, Universal–Edition; p. 41, 3 Vienna, Volksoper/ Marianne Weiss, p. 59, 3 70 Many thanks for professional advice and support whilst doing research to:

Mrs Susanne Bruse–Braunfels, Munich Ms Babette Angelaeas, Deutsches Theatermuseum, Munich Ms Angelika Glatz, Archives of Universal–Edition, Vienna Ms Christine Göthner, dramatics collection of Cologne University Ms Margreet Nouwen, Berlin Ms Inge Mathes, Theatre Museum Hanover Mr PD Dr. Robert Schmitt–Scheubel, Berlin Ms Dr. Bettina von Seyfried, Deutsches Musikarchiv Berlin Ms Dr. Claudia Valder–Knechtges, Cologne

71 Herausgeber: Walter–Braunfels–Gesellschaft Kochstraße 60

10969 Berlin

Tel: + 49 (30) 25 37 60 – 0 Fax: + 49 (30) 25 37 60 – 50 post@braunfels–architekten.de

Konzeption und Text: Dr. Agnete von Specht

Layout und Satz: Stephan Braunfels Architekten BDA

Druck: Motiv Offset N. & S. Karatas GbR Prinzessinnenstr. 26, 10969 Berlin

ISBN: 978–3–00–024742–2

Berlin, April 2008

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