Post-World War I Austria
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Austria's Pre-War Brown V. Board of Education Maria L
Fordham Urban Law Journal Volume 32 | Number 1 Article 4 2004 Austria's Pre-War Brown v. Board of Education Maria L. Marcus Follow this and additional works at: https://ir.lawnet.fordham.edu/ulj Part of the Civil Rights and Discrimination Commons Recommended Citation Maria L. Marcus, Austria's Pre-War Brown v. Board of Education, 32 Fordham Urb. L.J. 1 (2004). Available at: https://ir.lawnet.fordham.edu/ulj/vol32/iss1/4 This Article is brought to you for free and open access by FLASH: The orF dham Law Archive of Scholarship and History. It has been accepted for inclusion in Fordham Urban Law Journal by an authorized editor of FLASH: The orF dham Law Archive of Scholarship and History. For more information, please contact [email protected]. CHRISTENSENMARCUS 2/3/2011 9:57 PM AUSTRIA’S PRE-WAR BROWN v. BOARD OF EDUCATION Maria L. Marcus∗ INTRODUCTION On May 19, 1930, a Viennese newspaper published an article under the title, “His Magnificence The Rector: Scandal at the University of Vienna.”1 The author analyzed and attacked the government-sponsored University’s new regulations dividing the students into four “nations”—German, non- German (e.g., Jewish), mixed, or “other.” These regulations had been presented by the Rector as vehicles for voluntary association of students with common ethnic roots. The article noted, however, that under the new system, individuals were precluded from deciding themselves to which nation they belonged. A student would be designated as non-German even if he was a German-speaking Austrian citizen descended from generations of citizens, unless he could prove that his parents and his grandparents had been baptized.2 ∗ Joseph M. -
Der Rosenkavalier by Richard Strauss
Florida State University Libraries Electronic Theses, Treatises and Dissertations The Graduate School 2010 Octavian and the Composer: Principal Male Roles in Opera Composed for the Female Voice by Richard Strauss Melissa Lynn Garvey Follow this and additional works at the FSU Digital Library. For more information, please contact [email protected] THE FLORIDA STATE UNIVERSITY COLLEGE OF MUSIC OCTAVIAN AND THE COMPOSER: PRINCIPAL MALE ROLES IN OPERA COMPOSED FOR THE FEMALE VOICE BY RICHARD STRAUSS By MELISSA LYNN GARVEY A Treatise submitted to the Department of Music in partial fulfillment of the requirements for the degree of Doctor of Music Degree Awarded: Spring Semester, 2010 The members of the committee approve the treatise of Melissa Lynn Garvey defended on April 5, 2010. __________________________________ Douglas Fisher Professor Directing Treatise __________________________________ Seth Beckman University Representative __________________________________ Matthew Lata Committee Member The Graduate School has verified and approved the above-named committee members. ii I’d like to dedicate this treatise to my parents, grandparents, aunt, and siblings, whose unconditional love and support has made me the person I am today. Through every attended recital and performance, and affording me every conceivable opportunity, they have encouraged and motivated me to achieve great things. It is because of them that I have reached this level of educational achievement. Thank you. I am honored to thank my phenomenal husband for always believing in me. You gave me the strength and courage to believe in myself. You are everything I could ever ask for and more. Thank you for helping to make this a reality. -
DIE LIEBE DER DANAE July 29 – August 7, 2011
DIE LIEBE DER DANAE July 29 – August 7, 2011 the richard b. fisher center for the performing arts at bard college About The Richard B. Fisher Center for the Performing Arts at Bard College The Richard B. Fisher Center for the Performing Arts, an environment for world-class artistic presentation in the Hudson Valley, was designed by Frank Gehry and opened in 2003. Risk-taking performances and provocative programs take place in the 800-seat Sosnoff Theater, a proscenium-arch space; and in the 220-seat Theater Two, which features a flexible seating configuration. The Center is home to Bard College’s Theater and Dance Programs, and host to two annual summer festivals: SummerScape, which offers opera, dance, theater, operetta, film, and cabaret; and the Bard Music Festival, which celebrates its 22nd year in August, with “Sibelius and His World.” The Center bears the name of the late Richard B. Fisher, the former chair of Bard College’s Board of Trustees. This magnificent building is a tribute to his vision and leadership. The outstanding arts events that take place here would not be possible without the contributions made by the Friends of the Fisher Center. We are grateful for their support and welcome all donations. ©2011 Bard College. All rights reserved. Cover Danae and the Shower of Gold (krater detail), ca. 430 bce. Réunion des Musées Nationaux/Art Resource, NY. Inside Back Cover ©Peter Aaron ’68/Esto The Richard B. Fisher Center for the Performing Arts at Bard College Chair Jeanne Donovan Fisher President Leon Botstein Honorary Patron Martti Ahtisaari, Nobel Peace Prize laureate and former president of Finland Die Liebe der Danae (The Love of Danae) Music by Richard Strauss Libretto by Joseph Gregor, after a scenario by Hugo von Hofmannsthal Directed by Kevin Newbury American Symphony Orchestra Conducted by Leon Botstein, Music Director Set Design by Rafael Viñoly and Mimi Lien Choreography by Ken Roht Costume Design by Jessica Jahn Lighting Design by D. -
Podium Operette: Du Mein Schönbrunn
Podium Operette: Du mein Schönbrunn Kaiserin, Kaiser und Imperiales als Topoi der Wiener Operette Zum 300. Geburtstag Maria Theresias Universitätslehrgang Klassische Operette (Leitung: Wolfgang Dosch) Donnerstag, 11. Mai 2017 18.00 Uhr Musik und Kunst Privatuniversität der Stadt Wien MUK.podium Johannesgasse 4a, 1010 Wien PROGRAMM Leo Fall (1873, Olmütz – 1925, Wien) aus Die Kaiserin (Text: Julius Brammer/ Alfred Grünwald), 1915, Berlin Metropoltheater Wenn die Wiener Edelknaben Michiko Fujikawa, Sopran Nataliia Ulasevych, Sopran Jantus Philaretou, Bariton Wir sind drei feine Diplomaten Seungmo Jung, Tenor Wonbae Cho, Tenor Jantus Philaretou, Bariton Die Kaiserin: Original Klavierauszug Du mein Schönbrunn Adriana Hernandez Flores, Sopran Mir hat heute Nacht von ein’ Tanzerl geträumt Adriana Hernandes Flores, Sopran Jantus Philaretou, Bariton Ja, so singt man und tanzt man in Wien Nataliia Ulasevych, Sopran Seungmo Jeong, Tenor Fritzi Massary als Maria Theresia, UA Berlin 1915 2 Nico Dostal (1895, Korneuburg – 1981, Salzburg) aus Die ungarische Hochzeit (Text: Hermann Hermecke), 1939, Stuttgart Märchentraum der Liebe Wonbae Cho, Tenor Bruno Granichstaedten (1879, Wien – 1944, New York) aus Auf Befehl der Kaiserin (Text: Leopold Jacobson/ Robert Bodanzky), 1915, Wien Wann die Musik spielt Michiko Fujikawa, Sopran Nataliia Ulasevych, Sopran Seungmo Jeong, Tenor Dolores Schmidinger als Maria Theresia, Komm’, die Kaiserin will tanzen Die Ungarische Hochzeit, Lehár Festival Bad Ischl, 2015 © Foto Hofer Sonja Gebert, Sopran Branimir Agovi, Bariton -
Notes of Michael J. Zeps, SJ
Marquette University e-Publications@Marquette History Faculty Research and Publications History Department 1-1-2011 Documents of Baudirektion Wien 1919-1941: Notes of Michael J. Zeps, S.J. Michael J. Zeps S.J. Marquette University, [email protected] Preface While doing research in Vienna for my dissertation on relations between Church and State in Austria between the wars I became intrigued by the outward appearance of the public housing projects put up by Red Vienna at the same time. They seemed to have a martial cast to them not at all restricted to the famous Karl-Marx-Hof so, against advice that I would find nothing, I decided to see what could be found in the archives of the Stadtbauamt to tie the architecture of the program to the civil war of 1934 when the structures became the principal focus of conflict. I found no direct tie anywhere in the documents but uncovered some circumstantial evidence that might be explored in the future. One reason for publishing these notes is to save researchers from the same dead end I ran into. This is not to say no evidence was ever present because there are many missing documents in the sequence which might turn up in the future—there is more than one complaint to be found about staff members taking documents and not returning them—and the socialists who controlled the records had an interest in denying any connection both before and after the civil war. Certain kinds of records are simply not there including assessments of personnel which are in the files of the Magistratsdirektion not accessible to the public and minutes of most meetings within the various Magistrats Abteilungen connected with the program. -
German Operetta on Broadway and in the West End, 1900–1940
Downloaded from https://www.cambridge.org/core. IP address: 170.106.202.58, on 26 Sep 2021 at 08:28:39, subject to the Cambridge Core terms of use, available at https://www.cambridge.org/core/terms. https://www.cambridge.org/core/product/2CC6B5497775D1B3DC60C36C9801E6B4 Downloaded from https://www.cambridge.org/core. IP address: 170.106.202.58, on 26 Sep 2021 at 08:28:39, subject to the Cambridge Core terms of use, available at https://www.cambridge.org/core/terms. https://www.cambridge.org/core/product/2CC6B5497775D1B3DC60C36C9801E6B4 German Operetta on Broadway and in the West End, 1900–1940 Academic attention has focused on America’sinfluence on European stage works, and yet dozens of operettas from Austria and Germany were produced on Broadway and in the West End, and their impact on the musical life of the early twentieth century is undeniable. In this ground-breaking book, Derek B. Scott examines the cultural transfer of operetta from the German stage to Britain and the USA and offers a historical and critical survey of these operettas and their music. In the period 1900–1940, over sixty operettas were produced in the West End, and over seventy on Broadway. A study of these stage works is important for the light they shine on a variety of social topics of the period – from modernity and gender relations to new technology and new media – and these are investigated in the individual chapters. This book is also available as Open Access on Cambridge Core at doi.org/10.1017/9781108614306. derek b. scott is Professor of Critical Musicology at the University of Leeds. -
Sozialdemokratie in Vorarlberg
Sozialdemokratie in Vorarlberg Rückblick auf ein Jahrhundert Sozialdemokratie in Vorarlberg aus Anlass des hundertsten Jahrestages am 1. April 1999 Onlineausgabe 1 Autor, Herausgeber und Verleger: Günter Dietrich A-6830 Rankweil, Stiegstraße 40a E-Mail: [email protected] Web: www.dietrich.at Onlineausgabe 2003 © Günter Dietrich 2 Inhaltsverzeichnis Sozialdemokratie Vorläufer 6 Anfänge 8 Selbständigkeit 9 Umfeld 9 Bedrohung 10 Fremdhäßige 12 Bodenständige 14 Handwerker 15 Eisenbahner 19 Fabrikler 20 Übergang 23 Erste Republik 26 Tag der Arbeit 27 Widerstand 32 Wiederbeginn 34 Generationswechsel 35 Durchbruch 36 Bürgermeister 38 Auf und ab 41 Fußach 42 Pro Vorarlberg 44 Volksentscheide 46 Resümee 48 Literaturnachweis und Bildquellen 50 3 Vorwort Vor einem Jahr, anfangs 7!rz 1998, saß ich bei der Fahrt von Wien nach Vorarlberg gemütlich im Zugabteil. Am Abend dieses Tages sollte ich für vierzigjährige Mitgliedschaft bei der SPÖ geehrt werden. Im Prinzip habe ich starke Vorbehalte gegen Ehrungen. Doch vierzig Jahre SPÖ sind auch ein beachtlicher Teil meines Lebens. Ausnahmsweise, so dachte ich, doch ein guter Grund, den langen Weg für diese Ehrung anzutreten. Wer war denn alles dabei, damals im Jahre 1958, als ich mich in der Sozialdemokratie zu engagieren begann? Mehrere Personen tauchten in meiner Erinnerung auf, möglicherweise treffe ich einige davon auch heute Abend? In den vierzig Jahren haben sich bei mir zahlreiche, mit- unter schon historische Dokumente angesammelt. „Wann ich einmal Zeit haben werde“ , sagte ich mir früher, wenn ich wieder neue Papiere in mein Archiv stapelte, „werde ich dies alles aufarbeiten“ . Jetzt habe ich Zeit, folge dessen ging ich an die Arbeit, kramte noch kurz bevor ich zur Ehrung ging in den alten Papieren. -
Nachlass Victor Léon
Nachlass Victor Léon Wienbibliothek im Rathaus Handschriftensammlung ZPH 906, ZPH 924, ZPH 925 Bestandssystematik Wienbibliothek im Rathaus / Handschriftensammlung - Nachlass Victor Léon / ZPH 906, ZPH 924, ZPH 925 Biographische Informationen Léon, Victor (eigentlich: Hirschfeld, Victor Leon): 4. 1. 1856 (laut Österreich Lexikon) - 23. 2. 1940 Wien; Dramatiker, Regisseur, Dramaturg. Provenienz des Bestands Der Nachlass Victor Léon wurde von der Wienbibliothek im Rathaus in den Jahren 1995 (ZPH 906, ZPH 924) und 1996 (ZPH 925) von einem Antiquariat gekauft. Wenn nicht anders angegeben, stammen die in der Systematik verzeichneten Stücke aus ZPH 906. Umfang 47 Archivboxen, 1 Foliobox. Der Bestand ist unter ZPH 906 aufgestellt. 2 Wienbibliothek im Rathaus / Handschriftensammlung - Nachlass Victor Léon / ZPH 906, ZPH 924, ZPH 925 Abkürzungsverzeichnis Anm. Anmerkung Beil. Beilage Bl. Blatt Br. Brief eh. eigenhändig Einf. Einfügungen Ex. Exemplar(e) hs. handschriftlich Korr. Korrektur Kt. Karte Ms. Manuskript o.D. ohne Datum o.T. ohne Titel (x x) Streichung ZPH Zuwachsprotokoll Handschriftensammlung 3 Wienbibliothek im Rathaus / Handschriftensammlung - Nachlass Victor Léon / ZPH 906, ZPH 924, ZPH 925 Archivbox 1 1 Werke 1.1 Bühnenmanuskripte 1.1.1 Die Königin von Arragon 1.1.2 Blinde Liebe. Oper in 1 Akt 1.1.3 Firilette. Vaudeville in 3 Akten (Zensurmanuskript) 1.1.4 Das Fürstenkind. Operette in 1 Vorspiel und 2 Akten. Teilweise nach einer Erzählung von Edmond About. Musik von Franz Lehár. (Soufflierbuch) 1.1.5 Der Cognac-König. Operette in 3 Akten. Nach einer Idee Bayards von Victor Léon und Ludwig Held. Musik von Franz Wagner 1.1.6 Wiener Lieb und Wiener Treu (in 2 Bildern) 1.1.7 Die Doppelhochzeit. -
Building an Unwanted Nation: the Anglo-American Partnership and Austrian Proponents of a Separate Nationhood, 1918-1934
View metadata, citation and similar papers at core.ac.uk brought to you by CORE provided by Carolina Digital Repository BUILDING AN UNWANTED NATION: THE ANGLO-AMERICAN PARTNERSHIP AND AUSTRIAN PROPONENTS OF A SEPARATE NATIONHOOD, 1918-1934 Kevin Mason A dissertation submitted to the faculty of the University of North Carolina at Chapel Hill in partial fulfillment of the requirements for the degree of PhD in the Department of History. Chapel Hill 2007 Approved by: Advisor: Dr. Christopher Browning Reader: Dr. Konrad Jarausch Reader: Dr. Lloyd Kramer Reader: Dr. Michael Hunt Reader: Dr. Terence McIntosh ©2007 Kevin Mason ALL RIGHTS RESERVED ii ABSTRACT Kevin Mason: Building an Unwanted Nation: The Anglo-American Partnership and Austrian Proponents of a Separate Nationhood, 1918-1934 (Under the direction of Dr. Christopher Browning) This project focuses on American and British economic, diplomatic, and cultural ties with Austria, and particularly with internal proponents of Austrian independence. Primarily through loans to build up the economy and diplomatic pressure, the United States and Great Britain helped to maintain an independent Austrian state and prevent an Anschluss or union with Germany from 1918 to 1934. In addition, this study examines the minority of Austrians who opposed an Anschluss . The three main groups of Austrians that supported independence were the Christian Social Party, monarchists, and some industries and industrialists. These Austrian nationalists cooperated with the Americans and British in sustaining an unwilling Austrian nation. Ultimately, the global depression weakened American and British capacity to practice dollar and pound diplomacy, and the popular appeal of Hitler combined with Nazi Germany’s aggression led to the realization of the Anschluss . -
Operetta After the Habsburg Empire by Ulrike Petersen a Dissertation
Operetta after the Habsburg Empire by Ulrike Petersen A dissertation submitted in partial satisfaction of the requirements for the degree of Doctor of Philosophy in Music in the Graduate Division of the University of California, Berkeley Committee in Charge: Professor Richard Taruskin, Chair Professor Mary Ann Smart Professor Elaine Tennant Spring 2013 © 2013 Ulrike Petersen All Rights Reserved Abstract Operetta after the Habsburg Empire by Ulrike Petersen Doctor of Philosophy in Music University of California, Berkeley Professor Richard Taruskin, Chair This thesis discusses the political, social, and cultural impact of operetta in Vienna after the collapse of the Habsburg Empire. As an alternative to the prevailing literature, which has approached this form of musical theater mostly through broad surveys and detailed studies of a handful of well‐known masterpieces, my dissertation presents a montage of loosely connected, previously unconsidered case studies. Each chapter examines one or two highly significant, but radically unfamiliar, moments in the history of operetta during Austria’s five successive political eras in the first half of the twentieth century. Exploring operetta’s importance for the image of Vienna, these vignettes aim to supply new glimpses not only of a seemingly obsolete art form but also of the urban and cultural life of which it was a part. My stories evolve around the following works: Der Millionenonkel (1913), Austria’s first feature‐length motion picture, a collage of the most successful stage roles of a celebrated -
Interpreting Race and Difference in the Operas of Richard Strauss By
Interpreting Race and Difference in the Operas of Richard Strauss by Patricia Josette Prokert A dissertation submitted in partial fulfillment of the requirements for the degree of Doctor of Philosophy (Music: Musicology) in the University of Michigan 2020 Doctoral Committee: Professor Jane F. Fulcher, Co-Chair Professor Jason D. Geary, Co-Chair, University of Maryland School of Music Professor Charles H. Garrett Professor Patricia Hall Assistant Professor Kira Thurman Patricia Josette Prokert [email protected] ORCID iD: 0000-0002-4891-5459 © Patricia Josette Prokert 2020 Dedication For my family, three down and done. ii Acknowledgements I would like to thank my family― my mother, Dev Jeet Kaur Moss, my aunt, Josette Collins, my sister, Lura Feeney, and the kiddos, Aria, Kendrick, Elijah, and Wyatt―for their unwavering support and encouragement throughout my educational journey. Without their love and assistance, I would not have come so far. I am equally indebted to my husband, Martin Prokert, for his emotional and technical support, advice, and his invaluable help with translations. I would also like to thank my doctorial committee, especially Drs. Jane Fulcher and Jason Geary, for their guidance throughout this project. Beyond my committee, I have received guidance and support from many of my colleagues at the University of Michigan School of Music, Theater, and Dance. Without assistance from Sarah Suhadolnik, Elizabeth Scruggs, and Joy Johnson, I would not be here to complete this dissertation. In the course of completing this degree and finishing this dissertation, I have benefitted from the advice and valuable perspective of several colleagues including Sarah Suhadolnik, Anne Heminger, Meredith Juergens, and Andrew Kohler. -
Introduction
Cambridge University Press 978-0-521-45659-3 - Rounding Wagner’s Mountain: Richard Strauss and Modern German Opera Bryan Gilliam Excerpt More information Introduction Chapter 1 suggests that, despite its obscurity, Guntram (1893) remains the central source for understanding the emergence of Strauss as a mature artist. The work, whose text was written by the composer, documents his early philosophical struggles with the issue of music and metaphysics. Earlier scholars of Strauss’s operatic oeuvre have explained its failure in terms of its miscarried Wagnerism, demonstrating that they themselves have failed to understand that Guntram ultimately rejects Wagnerian metaphysics. In 1949, at the end of his life, Strauss regretted that his biographers tended to downplay Guntram’s rejection of a Wagnerian Erlösung, thereby ignoring the breach between individual (subject) and the world (object), as the Minnesänger breaks his lyre and walks 1 away from his brotherhood and his beloved Freihild. In this single gesture, Strauss, who served as his own librettist on this work, suggests that if one systematically follows Schopenhauer to the end of his four-book World as Will and Representation,thefinal denial of the will must include a rejection of music. Feuersnot (1901), the co-subject, along with Salome, of Chapter 2, marked the end of a seven-year operatic hiatus in the wake of Guntram’s failure. During those years Strauss composed his mature tone poems, all of which exemplify a shift toward ego assertion foreshadowed by that breach between individual and collective treated in Guntram. Informed by Nietzsche and Stirner, these orchestral works feature an individual (whether the visionary hero of Ein Heldenleben or the delusional antihero of Don Quixote) at odds with a complacent society.