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Entarteopera Festival Kammermusik · Lieder EntArteOpera Festival Kammermusik · Lieder Henriëtte Bosmans Vally Weigl Charlotte Schlesinger Vítězslava Kaprálová Hermine Haselböck Franz Bartolomey Clemens Zeilinger EntArteOpera Festival Chamber Music / Kammermusik Verbotene Klänge / Forbidden Sounds Henriëtte Bosmans (1895–1952) 1 Chanson (Lyrics/Text: Fernand Mazade) 2:45 2 Complainte du petit cheval blanc (Lyrics/Text: Paul Fort) 2:38 3 Le diable dans la nuit (Lyrics/Text: Paul Fort), 1933 1:39 Vally Weigl (1894–1982) 4 Toccatina (Hommage à Robert Schumann), 1982 3:56 5 Who is at my Window? (Lyrics/Text: Denise Levertow), 1968 3:39 from/aus: Songs Newly Seen in the Dusk 6 Living a Life (Lyrics/Text: Denise Levertow), 1968 4:20 from/aus: Songs Newly Seen in the Dusk 7 Hymn to Eros (Lyrics/Text: Denise Levertow), 1968 4:18 from/aus: Songs Newly Seen in the Dusk Charlotte Schlesinger (1909–1976) 8 Es ziehen die Reihe lang, 1931 0:44 from/aus: Fünf Gesänge, No. 2 9 Wie hell das Licht mir scheinet, 1931 1:27 from/aus: Fünf Gesänge, No. 3 bl Was hör ich, 1931 0:48 from/aus: Fünf Gesänge, No. 4 Vítězslava Kaprálová (1915–1940) bm (Une des) Deux Ritournelles op. 25 4:17 bn Navždy (Lyrics/Text: Jan Čarek), 1936/37 2:38 from/aus: Navždy – Für Immer, Op. 12, No. 1 2 bo Čím je můj žal (Lyrics/Text: Jan Čarek), 1936/37 2:31 from/aus: Navždy – Für Immer, Op. 12, No. 2 bp Ruce (Lyrics/Text: Jaroslav Seifert), 1936/37 1:46 from/aus: Navždy – Für Immer, Op. 12, No. 3 bq Koleda milostná – Liebesliedchen, 1938 1:36 from/aus: Seconds, Op. 18, No. 7 Bohuslav Martinů (1890–1959) br Koleda milostná – Liebesliedchen H 259, 1937 1:01 Vally Weigl bs All Day I Hear the Noise of Waters (Lyrics/Text: James Joyce), 1951 2:30 bt Listen (Lyrics/Text: Clara Fischer), 1971 3:25 Henriëtte Bosmans Sonata for Cello and Piano, 1919 Sonate für Violoncello und Klavier, 1919 bu I Allegro maestoso 9:07 cl II Un poco Allegretto 4:03 cm III Adagio 2:38 cn IV Allegro molto e con fuoco 6:12 Hermine Haselböck mezzo soprano / Mezzosopran (1-3, 5-10, 12-18) Franz Bartolomey cello /Violoncello (5-7, 11, 19-22) Clemens Zeilinger piano/Klavier (1-4, 8-22) 3 Präludium EntArteOpera widmet sich, wie schon die Jahre Bereich der Kunst eine wichtige Aufklärung dar und zuvor, in seinem Festival der lebendigen Erinne- bietet die Möglichkeit, gegenwärtige Konflikte unter rungskultur und der Wiederbelebung des umfang- einem anderen Blickwinkel zu verstehen. reichen Opus vergessener, verfemter, durch den Nationalsozialismus verfolgter, ins Exil getriebener Mit dem Themenschwerpunkt „Verfemte und Ver- oder gar ermordeter Musikschaffender. Unter dem gessene Komponistinnen“ setzte EntArteOpera Begriff „Entartete Musik“ diffamierte das NS-Regime 2016 seine erfolgreiche Programmserie fort. In Musik, die nicht seiner Ideologie entsprach, Musik der Ausstellung „Marsch der Frauen – Ungehörige der damaligen Moderne, atonale Musik, Jazzmusik Komponistinnen zwischen Aufbruch, Bruch & Exil“ und vor allem Musik von Musikschaffenden jüdischer und den Konzerten porträtierte EntArteOpera sieben Herkunft. Die nationalsozialistische Bewegung, die ausgewählte, sehr unterschiedliche Komponistinnen, sich auch kulturell ideologisch verstand, definierte ein die ihre schöpferische Kreativität dem Frauenbild, im eigenes Kunst- und Schönheitsideal und diffamierte Besonderen jenem der NS-Zeit entgegensetzten. Im sogenannte „artfremde Verfallskunst“. Die fatale Spiegel ihrer Zeit wurden sie doppelt ausgegrenzt. Reglementierung des Musiklebens der NS-Zeit Das NS-Regime diffamierte sie wegen ihrer jüdi- hat viele Leben von Musikern und Musikerinnen schen Herkunft, ihrer sexuellen Orientierung, ihrer zerstört, die Musikgeschichte nachhaltig verändert politischen Einstellung oder weil sie für die Rechte und wirkt bis heute im musikalischen Gedächtnis. der Frauen kämpften, als Verfemte, und grenzte Das philosophische Vermächtnis im Werk der Musi- sie als unangepasste schaffende Frauen aus. Trotz kerinnen und Musiker wird im Festival EntArteOpera gesellschaftlicher Widerstände suchten sie als in Ausstellungen, Konzerten und Opernaufführungen selbstbewusste, aufmüpfige Persönlichkeiten ihre lebendig. Die Aktualität ihrer Themen wie deren künstlerische Identität in der Musik. Reflexion auf ihre Zeit bilden eine emotionale Brü- Auch vor der Schreckenszeit des Dritten Reichs cke in die Gegenwart, ihre Musik eine Resonanz war es für Frauen nicht vorgesehen, schöpferischen auf ihr Leben. Ausdruck und kreativen Lebensgestaltungswillen zur Grundlage ihres Seins und zu einem selbstbestimmten In Zeiten von Rechtspopulismus und unreflek- Beruf zu erklären. Die Fähigkeit, eigenständige Ge- tiertem Gebrauch nationalsozialistischer Diktion, danken und Reflexionen in Musik zu formulieren und Ikonographie und Geschichtsverständnisses stellt einen Akt der Schöpfung im künstlerischen Sinne zu eine exemplarische Auseinandersetzung gerade im vollziehen, wurde den Frauen oft abgesprochen. Eine 4 beginnende Veränderung in der gesellschaftlichen derne Charlotte Schlesinger, die leidenschaftliche Wahrnehmung des Frauenbildes, die einherging Meisterin Vítězslava Kaprálová. mit dem aktiven Kampf um die Rechte der Frauen 2016 stellt die Oper „Baruchs Schweigen“ der und die frei gewählte Selbstdefinition auch im Beruf, zeitgenössischen israelischen Komponistin Ella wurde durch einen radikalen Antifeminismus und die Milch-Sheriff, Tochter eines traumatisierten Shoa- Propagierung eines ideologischen Frauenbildes im Überlebenden aus Galizien, eine Brücke in die Nationalsozialismus zurückgedreht und schließlich Gegenwart dar. Die Komponistin thematisiert in zum Stillstand gebracht. Frauenemanzipation wurde diesem Musikdrama ihre musikalische Reise zu als Ausdruck „absoluter Entartung“ definiert und die den Schatten der Vergangenheit. britische Suffragette zum Feindbild und Gegenbild Diese außergewöhnlichen Komponistinnen verdienen der „natürlichen deutschen Frau“ erklärt. Beachtung, ihre Verdienste öffentliche Wahrnehmung, ihre Musik einen Platz sowohl in den Konzertsälen Die Musik von Komponistinnen, schöpferisch tätigen als auch in der Musikgeschichte. Frauen, die sich für eine gesellschaftliche Akzeptanz von Musikerinnen eingesetzt haben, ist Ausdruck Susanne Thomasberger ihrer gelebten Überzeugung und Selbstbehauptung. Leitung EntArteOpera Diese Musikerinnen waren Pionierinnen in einem de- www.entarteopera.com klarierten Männerberuf, warfen Geschlechterklischees über Bord und brachen mutig die Tabus ihrer Zeit. Das Festival EntArteOpera 2016 widmete sich in einer Ausstellung, mehreren Konzerten und einer Theateruraufführung exemplarisch sieben Kom- ponistinnen aus fünf europäischen Ländern und stellt deren Leben, Werk und Weltanschauung ins Zentrum des Interesses: Die Schöpferin des „March of the Women“ und Suffragette Ethel Smyth, die Mäzenin, Muse und Mentorin Alma Mahler-Werfel, die Pionierin der Musiktherapie Vally Weigl, das Multitalent Hilde Loewe-Flatter, die musikalische Liebende Henriëtte Bosmans, die vertriebene Mo- 5 Prelude Like in previous years, the EntArteOpera festival possibility of understanding current conflicts from is dedicated to the living cultural memory and re- a different perspective. vival of substantial works by forgotten ostracised Under the title “Ostracised and Forgotten Compos- composers who were persecuted, driven into exile ers” in 2016 EntArteOpera continued its successful or even murdered by National Socialism. Under the program series. In the exhibition “Marsch der Frauen term “degenerate music” the Nazi regime defamed – Ungehörige Komponistinnen zwischen Aufbruch, music that did not suit its ideology: the music of Bruch & Exil” (March of Women – Rebellious Female modernism at the time, atonal music, jazz and, Composers between Awakening, Fracture and above all, music by composers of Jewish origin. Exile”) and the concerts associated with it, in 2016 The national socialist movement, which attempted EntArteOpera portrayed seven very different women to use culture to establish its ideology, defined its composers who used their creativity to oppose own ideals of art and beauty and defamed what it the commonplace image of women, in particular called “alien, decadent art”. The fatal regimentation the image that prevailed in the Nazi era. During of musical life in the Nazi period destroyed the lives their lifetime they were doubly excluded: The Nazi of many musicians, lastingly changed music history regime defamed them on account of their Jewish and, up to the present day, has had an impact on origins, their sexual orientation, and their political the general memory of music. opinions or because they fought for the rights of In the festival EntArteOpera the philosophical legacy women as ostracised persons and excluded them of the work of these musicians is brought to life again as rebellious, creative women. Despite resistance by exhibitions, concerts and opera performances. from society, as self-confident rebellious personalities The topicality of their themes and their reflections these composers persistently struggled to establish on their times builds an emotional bridge to the their artistic identity in music. present, their music creates a resonance to their lives. Even prior to the time of horror of the Third Reich, women were not intended to make creative expression In times of right-wing populism and the unreflective and the desire for a creative life the foundation of use of national socialist diction, iconography and their existence and to decide on a career for them- understanding of history, the example of such an selves. The ability to formulate
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