DOCSLIB.ORG

University of Southampton Research Repository Eprints Soton

Total Page：16

File Type：pdf, Size：1020Kb

Download full-text PDF Read full-text
University of Southampton Research Repository Eprints Soton University of Southampton Research Repository ePrints Soton Copyright © and Moral Rights for this thesis are retained by the author and/or other copyright owners. A copy can be downloaded for personal non-commercial research or study, without prior permission or charge. This thesis cannot be reproduced or quoted extensively from without first obtaining permission in writing from the copyright holder/s. The content must not be changed in any way or sold commercially in any format or medium without the formal permission of the copyright holders. When referring to this work, full bibliographic details including the author, title, awarding institution and date of the thesis must be given e.g. AUTHOR (year of submission) "Full thesis title", University of Southampton, name of the University School or Department, PhD Thesis, pagination http://eprints.soton.ac.uk UNIVERSITY OF SOUTHAMPTON FACULTY OF HUMANITIES Department of Music Volume 2 of 2 Heinrich Schenker and the Radio by Kirstie Hewlett Thesis for the degree of Doctor of Philosophy December 2014 1 1 Appendices 1 1 Contents Appendix 1: References to Radio Broadcasts.............................................................. 1 1924 ........................................................................................................................................................................ 3 1925 ......................................................................................................................................................................11 1926 ......................................................................................................................................................................53 1927 ......................................................................................................................................................................81 1928 ...................................................................................................................................................................125 1929 ...................................................................................................................................................................213 1930 ...................................................................................................................................................................289 1931 ...................................................................................................................................................................335 1932 ...................................................................................................................................................................379 1933 ...................................................................................................................................................................405 1934 ...................................................................................................................................................................433 Appendix 2: Concert Summaries ................................................................................451 1924 ...................................................................................................................................................................453 1925 ...................................................................................................................................................................455 1926 ...................................................................................................................................................................463 1927 ...................................................................................................................................................................475 1928 ...................................................................................................................................................................481 1929 ...................................................................................................................................................................489 1930 ...................................................................................................................................................................501 1932 ...................................................................................................................................................................507 1933 ...................................................................................................................................................................509 Appendix 3: Outside Broadcasts................................................................................511 Appendix 3.1: List of Konzerthaus Broadcasts that Schenker Listened to .........................513 Appendix 3.2: List of Musikverein Broadcasts that Schenker Listened to..........................525 1 1 Appendix 1: References to Radio Broadcasts The translations in the following appendix are my own, as are the transcriptions from 1929 onwards. All earlier transcriptions were produced by Marko Deisinger, which are published on Schenker Documents Online; they have been reproduced in this appendix with his and the website’s kind permission. The original sources are preserved in the Oswald Jonas Memorial Collection at the University of California, Riverside in file 3, boxes 7–9 and file 4, boxes 1–8. Each diary entry in the following appendix also contains contextual information about the works and performers mentioned, and a transcription of the relevant programme listings. Wherever possible, such information has been sourced from Grove Music Online, the Österreichisches Musiklexikon, or the profiles on Schenker Documents Online. As there are many discrepancies between the radio listings that were published weekly in the Radio Wien journal and those that appeared daily in the Neue freie Presse, I have transcribed the programme descriptions from the lat- ter source, since when measured against Schenker’s accounts of what he listened to it is clear that the Neue freie Presse was the more reliable of the two. 1 1924 {2736} Tuesday 7th October, 1924 A radio programme heard at the Bei der Hausbesorgerin einen Radio- concierge's. Vortrag gehört. {2744} Sunday 19th October, 1924 Mizzi sets up the radio connection; Mizzi richtet den Rundfunk-Anschluß we can already listen in the evening – ein, abends können wir schon zuhören unfortunately it was too shrill. Variety – leider war es ein zu grell — bunter evening. Abend. 8 Uhr: Bunter Abend. Mitwirkende: Paul Kronegg, Bürgertheater. Ernst Arnold, Carltheater. Otto Poll, Gesangshumorist, Rolandbühne. Martha Schlettingen, „Hölle“. Adele Moraw. {2744–5} Monday 20th October, 1924 Mizzi brings the latest version of the Mizzi bringt den Rundfunk in letzte radio: {2745} 699,000 Kronen, we round Fassung {2745} 699000 Kronen, wir it up to 720,000 Kronen. ergänzen auf 720000 Kronen. The radio is to be used with caution, Radio mit Vorsicht zu gebrauchen, nicht not only because of our work and meal nur vom Standpunkt unserer Arbeits[-] schedule, but also because its value is u. Eßeinteilung, sondern auch weil sein currently still questionable. There are Wert derzeit noch fraglich ist; viele Vor- plenty of piano performances – that is, führungen bei Klavier, also eine Art a kind of garden/restaurant music – that Garten-Restaurant-Musik, die man mit can be enjoyed in comfort at home; but Bequemlichkeit zuhause genießt, – allein just as you do not sit alone in the garden so wenig man täglich von 11–1, 4–6 u. every day from 11–1, 4–6 and 8–10, so 8–10h im Garten sitzt, so wenig ist das rarely is it possible to sit at home. zuhause möglich. 3 3 {2746} Wednesday 22nd October, 1924 Radio: Brahms Sextet in B♭ major[1] and Rf.: Brahms Sextett Bdur[1] u. Dworak Dvořák Quintet in G major[2]. Quintett Gdur[2]. fn.1 Johannes Brahms (1833–1897, German): Sextet No. 1, Op. 18 (1859–60). fn.2 Antonin Dvořák (1841–1904, Czech): String Quintet, Op. 77 (c. 1875). 8 Uhr: Kammermusikabend. Mitwirkende: Das Sedlak-Winkler-Quartett, Heinrich Gräser (2. Viola), Franz Ippich (2. Cello). Brahms: Sextett B-Dur. Dvorak: Sextett. Als Einlage Lieder- vorträge des Konzertsängers Walter Aichinger. {2746} Thursday 23rd October, 1924 Radio: 35,000 Kronen. Rf.: 35000 Kronen. {2746} Friday 24th October, 1924 Radio: songs by Schumann[1] and Rf. Lieder von Schumann[1] u. Brahms[2]; Chopin Scherzo in B♭ Brahms[2], Chopin Scherzo Bmoll[3]. minor[3]. fn.1 Robert Schumann (1810–1856, German): pieces unspecified in radio listings. fn.2 Johannes Brahms (1833–1897, German): pieces unspecified in radio listings. fn.3 Fryderyk Chopin (1810–1849, Polish): Chopin Scherzo in B♭ minor, Op. 31/1 (1837). 8 Uhr: Konzertabend. Mitwirkende: Frl. Munteanu (Konzertsängerin), Herr Langer (Cello), Herr Jölli (Konzertsänger), Frl. Dora Miklosich (Rezitationen). Am Flügel: Herr Zechner und Musikdirektor Max Ast. Fr. Händel: Larghetto aus der Sonate D-Dur (für Cello allein). J. S. Bach: Präludium aus der G-Dur Suite. Josef Haydn: Menuett. Popper: Romanze in G-Dur. (Herr Langer.) Lieder von Schubert und Schumann. (Herr Jölli.) Lieder von Brahms und Richard Strauß. (Konzertsängerin Munteanu.) Klaviervorträge (Herr Zechner.) Börries von Münchhausen: Zwei Balladen. (Frl. Dora Miklosich.) Adalbert Stifter: Geschichten aus dem Böhmerwald. (Frl. Dora Miklosich.) {2748} Sunday 26th October,
Load more

Recommended publications
  • Toccata Classics TOCC0147 Notes
    TOCCATA Bernhard CLASSICS SEKLES Chamber Music Violin Sonata, Op. 44 Cello Sonata, Op. 28 Chaconne on an Eight-Bar March-Theme, Op. 38, for viola and piano ℗ Capriccio in Four Movements for piano trio Solomia Soroka, violin and viola Noreen Silver, cello Phillip Silver, piano INCLUDES FIRST RECORDING REDISCOVERING BERNHARD SEKLES by Phillip Silver he present-day obscurity of Bernhard Sekles illustrates how porous is contemporary knowledge of twentieth-century music: during his lifetime Sekles was prominent as teacher, administrator and composer alike. History has accorded him footnote status in two of these areas of endeavour: as an educator with an enviable list of students, and as the Director of the Hoch Conservatory in Frankfurt from 923 to 933. During that period he established an opera school, much expanded the area of early-childhood music-education and, most notoriously, in 928 established the world’s irst academic class in jazz studies, a decision which unleashed a storm of controversy and protest from nationalist and fascist quarters. But Sekles was also a composer, a very good one whose music is imbued with a considerable dose of the unexpected; it is traditional without being derivative. He had the unenviable position of spending the prime of his life in a nation irst rent by war and then enmeshed in a grotesque and ultimately suicidal battle between the warring political ideologies that paved the way for the Nazi take-over of 933. he banning of his music by the Nazis and its subsequent inability to re-establish itself in the repertoire has obscured the fact that, dating back to at least 99, the integration of jazz elements in his works marks him as one of the irst European composers to use this emerging art-form within a formal classical structure.
    [Show full text]
  • Chronology 1916-1937 (Vienna Years)
    Chronology 1916-1937 (Vienna Years) 8 Aug 1916 Der Freischütz; LL, Agathe; first regular (not guest) performance with Vienna Opera Wiedemann, Ottokar; Stehmann, Kuno; Kiurina, Aennchen; Moest, Caspar; Miller, Max; Gallos, Kilian; Reichmann (or Hugo Reichenberger??), cond., Vienna Opera 18 Aug 1916 Der Freischütz; LL, Agathe Wiedemann, Ottokar; Stehmann, Kuno; Kiurina, Aennchen; Moest, Caspar; Gallos, Kilian; Betetto, Hermit; Marian, Samiel; Reichwein, cond., Vienna Opera 25 Aug 1916 Die Meistersinger; LL, Eva Weidemann, Sachs; Moest, Pogner; Handtner, Beckmesser; Duhan, Kothner; Miller, Walther; Maikl, David; Kittel, Magdalena; Schalk, cond., Vienna Opera 28 Aug 1916 Der Evangelimann; LL, Martha Stehmann, Friedrich; Paalen, Magdalena; Hofbauer, Johannes; Erik Schmedes, Mathias; Reichenberger, cond., Vienna Opera 30 Aug 1916?? Tannhäuser: LL Elisabeth Schmedes, Tannhäuser; Hans Duhan, Wolfram; ??? cond. Vienna Opera 11 Sep 1916 Tales of Hoffmann; LL, Antonia/Giulietta Hessl, Olympia; Kittel, Niklaus; Hochheim, Hoffmann; Breuer, Cochenille et al; Fischer, Coppelius et al; Reichenberger, cond., Vienna Opera 16 Sep 1916 Carmen; LL, Micaëla Gutheil-Schoder, Carmen; Miller, Don José; Duhan, Escamillo; Tittel, cond., Vienna Opera 23 Sep 1916 Die Jüdin; LL, Recha Lindner, Sigismund; Maikl, Leopold; Elizza, Eudora; Zec, Cardinal Brogni; Miller, Eleazar; Reichenberger, cond., Vienna Opera 26 Sep 1916 Carmen; LL, Micaëla ???, Carmen; Piccaver, Don José; Fischer, Escamillo; Tittel, cond., Vienna Opera 4 Oct 1916 Strauss: Ariadne auf Naxos; Premiere
    [Show full text]
  • Ariadne Auf Naxos
    La natura és l'origen de totes les coses bones. Yoghourts, flams, cremes, formatges. —aliments frescos i naturals— GRAN TEATRE DEL LICEU Temporada d'òpera 1983/84 CONSORCI DEL GRAN TEATRE DEL LICEU CENERALHAT DE CATALUNYA AJUNTAMENT DE BARCELONA SOCIETAT DEL GRAN TEATRE DEL LICEU Ptas.1,949.480PRECIO: decirfaltahaceNomás dynamicThecar BRITISH Tels. Tels. S.A.MOTORS, 46-48Gervasio.SanP.»VENTAS:YEXPOSICION Q38211373124797- 36Calabna,RECAMBIOS:YTALLERES BARCELONA242922314-- ARIADIME AUF IMAXOS òpera en 1 pròleg i 1 acte Llibret d'Hugo von Hofmannsthal Miisica de Richard Strauss Funció de Gala Dijous, 12 de gener de 1984, a les 21 h., funció núm. 23, torn B Diumenge, 15 de gener de 1984, a les 17 h., funció núm. 24, torn T Dimecres, 18 de gener de 1984, a les 21 h., funció núm. 25, torn A GRAN TEATRE DEL LICEU Barcelona HïïVÜS ^ROSSO^ fWlW^ATI martini & ROSSI Un Martini invitaavivir [martini ARIADNE AUF NAXOS El majordom (part parlada): Hans Christian Un mestre de miisica: Ernst Gutstein El compositor: Alicia Nafé Bacchus: Klaus Koening Un oficial: Alfredo Heilbron Un mestre de ball: Wolf Appel Un perruquer: Steven Kimbrough Un lacai: Alfred Werner Zerbinetta: Celina Lindsley Ariadne: Montserrat Caballé Arlequí: Georg Tichy Scaramuccio: Ernst Dieter Suttheimer Truffaldin: Ude Krekow Brighella: Wolf Appel Echo: Downing Whitesell Najade: Agnes Habereder Dryade: Ingrid Mayr Director d'orquestra: János Kulka Director d'escena: Mario Kriiger Violí concertino: Josep M." Alpiste Producció: Staatstheater - Braunschweig (R.F.A.) ORQUESTRA SIMFÒNICA DEL GRAN TEATRE DEL LICEU Comentaris a càrrec dels Drs. Roger Alier, Xosé Aviñoa i Oriol Martorell, del Departament d'Art de la Universitat de Barcelona.
    [Show full text]
  • Hinrich Alpers Kuss Quartett Marie-Pierre Langlamet Hanno
    Hinrich Alpers Kuss Quartett Marie-Pierre Langlamet Hanno Müller-Brachmann Tehila Nini Goldstein Nabil Shehata Agata Szymczewska RUDI STEPHaN (1887–1915) CHaMBER WORKS aND SONGS 1 Groteske für Geige und Klavier (1911) 8.04 13 Liebeszauber (Friedrich Hebbel) (1914) 11.31 Hinrich Alpers piano · Agata Szymczewska violin arranged for baritone and seven stringed instruments by Hinrich Alpers (2003/2013) „Ich will Dir singen ein Hohelied…“ (1913/14) Hanno Müller-Brachmann baritone · Hinrich Alpers piano 6 poems by Gerda von Robertus for soprano and piano Kuss Quartett · Nabil Shehata double-bass 2 I. Kythere 2.09 Marie-Pierre Langlamet harp 3 II. Pantherlied 0.59 14 Mitternacht (Leo Greiner) (1904) 2.53 4 III. Abendfriede 2.08 15 Weihnachtsgefühl (Martin Greif) (1905) 2.05 5 IV. In Nachbars Garten 2.25 6 V. Glück zu Zweien 2.12 Sieben Lieder nach verschiedenen Dichtern (1913/14) 7 VI. Das Hohelied der Nacht 2.34 16 I. Sonntag (Otto Julius Bierbaum) 2.07 Tehila Nini Goldstein soprano · Hinrich Alpers piano 17 II. Pappel im Stahl (Josef Schanderl) 1.50 18 III. Dir (Hinrich Hinrichs) 2.27 8 Waldnachmittag (Maurice Reinhold von Stern) (1904) 3.10 19 IV. Ein Neues (Karl von Berlepsch) 2.58 9 Auf den Tod einer jungen Frau (Anton Lindner) (1904) 2.10 20 V. Im Einschlafen (Bruno Goetz) 4.44 10 Up de eensome Hallig (Detlev von Liliencron) (1914) 2.07 21 VI. Abendlied (Gustav Falke) 3.00 22 VII. Heimat (Richard Dehmel) 3.09 “Zwei ernste Gesänge” for baritone and piano (1913/14) Tehila Nini Goldstein soprano · Hinrich Alpers piano 11 Am Abend (Johann Christian Günther) 1.21 12 Memento vivere (Friedrich Hebbel) 3.52 Hanno Müller-Brachmann baritone · Hinrich Alpers piano 2 Musik für Sieben Saiteninstrumente in a single movement and a postlude (1912) 23 I.
    [Show full text]
  • CUL Keller Archive Catalogue
    HANS KELLER ARCHIVE: working copy A1: Unpublished manuscripts, 1940-49 A1/1: Unpublished manuscripts, 1940-49: independent work This section contains all Keller’s unpublished manuscripts dating from the 1940s, apart from those connected with his collaboration with Margaret Phillips (see A1/2 below). With the exception of one pocket diary from 1938, the Archive contains no material prior to his arrival in Britain at the end of that year. After his release from internment in 1941, Keller divided himself between musical and psychoanalytical studies. As a violinist, he gained the LRAM teacher’s diploma in April 1943, and was relatively active as an orchestral and chamber-music player. As a writer, however, his principal concern in the first half of the decade was not music, but psychoanalysis. Although the majority of the musical writings listed below are undated, those which are probably from this earlier period are all concerned with the psychology of music. Similarly, the short stories, poems and aphorisms show their author’s interest in psychology. Keller’s notes and reading-lists from this period indicate an exhaustive study of Freudian literature and, from his correspondence with Margaret Phillips, it appears that he did have thoughts of becoming a professional analyst. At he beginning of 1946, however, there was a decisive change in the focus of his work, when music began to replace psychology as his principal subject. It is possible that his first (accidental) hearing of Britten’s Peter Grimes played an important part in this change, and Britten’s music is the subject of several early articles.
    [Show full text]
  • 200 Da-Oz Medal
    200 Da-Oz medal. 1933 forbidden to work due to "half-Jewish" status. dir. of Collegium Musicum. Concurr: 1945-58 dir. of orch; 1933 emigr. to U.K. with Jooss-ensemble, with which L.C. 1949 mem. fac. of Middlebury Composers' Conf, Middlebury, toured Eur. and U.S. 1934-37 prima ballerina, Teatro Com- Vt; summers 1952-56(7) fdr. and head, Tanglewood Study munale and Maggio Musicale Fiorentino, Florence. 1937-39 Group, Berkshire Music Cent, Tanglewood, Mass. 1961-62 resid. in Paris. 1937-38 tours of Switz. and It. in Igor Stravin- presented concerts in Fed. Repub. Ger. 1964-67 mus. dir. of sky's L'histoire du saldai, choreographed by — Hermann Scher- Ojai Fests; 1965-68 mem. nat. policy comm, Ford Found. Con- chen and Jean Cocteau. 1940-44 solo dancer, Munic. Theater, temp. Music Proj; guest lect. at major music and acad. cents, Bern. 1945-46 tours in Switz, Neth, and U.S. with Trudy incl. Eastman Sch. of Music, Univs. Hawaii, Indiana. Oregon, Schoop. 1946-47 engagement with Heinz Rosen at Munic. also Stanford Univ. and Tanglewood. I.D.'s early dissonant, Theater, Basel. 1947 to U.S. 1947-48 dance teacher. 1949 re- polyphonic style evolved into style with clear diatonic ele- turned to Fed. Repub. Ger. 1949- mem. G.D.B.A. 1949-51 solo ments. Fel: Guggenheim (1952 and 1960); Huntington Hart- dancer, Munic. Theater, Heidelberg. 1951-56 at opera house, ford (1954-58). Mem: A.S.C.A.P; Am. Musicol. Soc; Intl. Soc. Cologne: Solo dancer, 1952 choreographer for the première of for Contemp.
    [Show full text]
  • INFORMATION ISSUED by Rhf ASSOCIATION of JEWISH REFUGEES in GREAT BRITAIN a FAIRFAX MANSIONS, FINCHLEY RD
    Vol. XVIII No. 7 July, 1963 INFORMATION ISSUED BY rHf_ ASSOCIATION OF JEWISH REFUGEES IN GREAT BRITAIN a FAIRFAX MANSIONS, FINCHLEY RD. (corner Fairfax Rd). London, N.W.S Office and Consulting Hours: Telephone : MAIda Vale 9096/7 (General Office and Welfare for the Aged), Monday to Tiiursday 10 a.m.—l p.m. 3—6 p.n MAIda Vale 4449 (Empioyment Agency, annually licensed by the L.C.C., and Social Services Dept.) Friday 10 a.m.—l p.m. '*^- W. Simpson and however strong may be her traditional links with and interest in Western Europe she cannot overlook the proximity of Eastern POLISH RETROSPECT Germany nor ignore the views of Eastern Germans about their West German neighbours. The Rev. W. W. Simpson, General Secretary of the Council of Christians and It was in no way surprising, therefore, that Jews, paid a visit to Poland on the occasion of the Twentieth Anniversary of the speeches delivered at the official ceremonies ^Varsaw Ghetto Uprising. We are greatly indebted to him for having kindly put the in connection with the Commemoration were following article at our disposal.—The Ed. critical of the West in general and of Western Germany in particular, especially in respect of Going through some old files in anticipation those who once lived under Nazi domination, the " failure" of the West to respond to oi a recent move, I came across some photo­ can hardly begin to appreciate. appeals for help at the time of the uprising, graphs I took in Warsaw in 1934. They were It was in the light of these memories and and of the continuance in offlce in Western Neither very many nor verj' good, but at least impressions that I found myself a few months Germany of former Nazi leaders.
    [Show full text]
  • Orquestra Sinfónica Do Porto Casa Da Música
    Orquestra Sinfónica do Porto Casa da Música Takuo Yuasa direcção musical 3 Jan 2020 · 21:00 Sala Suggia MECENAS CICLO SOGRAPE A CASA DA MÚSICA É MEMBRO DE 1ª PARTE (C.30MIN) Jacques Offenbach Abertura da opereta La belle Hélène (1864) Barcarola da ópera Les contes d’Hoffmann (1881) Johann Strauss II Postillon d’amour, op. 317 (polca francesa) (1867) Annen ‑Polka, op. 117 (polca francesa) (1852) Josef Strauss Moulinet Polka, op. 57 (polca francesa) (1858) Amilcare Ponchielli Dança das horas, da ópera La Gioconda (1876) 2ª PARTE (C.35MIN) Johann Strauss II Wiener Blut, op. 354 (valsa) (1899) Franz Lehár Ouro e Prata (valsa) (1902) Eduard Strauss Bahn frei!, op. 45 (polca rápida) (1869) Johann Strauss II Comboio da diversão, op. 281 (polca rápida) (1864) Hans Christian Lumbye Galope do Comboio a Vapor de Copenhaga (1847) Johann Strauss II Im Krapfenwald’l, op. 336 (polca francesa) (1869) Hans Christian Lumbye Champagne (galope) (1845) Johann Strauss II No belo Danúbio azul, op. 314 (valsa) (1866) 3 A dinastia Strauss é já habitual convidada de conteúdos, o musical e o dramático, apresen‑ honra do Concerto de Ano Novo da Orques‑ tam um carácter mais leve. Originalmente, a tra Sinfónica, seduzindo ‑nos com as mais opereta assentaria as suas raízes nos géne‑ animadas valsas e polcas. Estas eram danças ros teatrais mais populares – como a comme‑ imensamente populares na Viena do século dia dell’arte em Itália durante os séculos XVI e XIX e ainda hoje animam os bailes da cidade XVIII, o vaudeville em França e a ballad opera e as históricas emissões televisivas de Ano no Reino Unido.
    [Show full text]
  • Download Booklet
    !"#$%&%$'()*+,-.+/01)234567)89:;.6)<6=:/;<6)>))%#?1?11))!4@&)AB))A;.6)1 Shakespeare songs strophic form predominates and hardly aware of it. Yet even these calculated irregularities Britta Stallmeister Korngold alternates between exact and altered repetitions disappear noticeably in Op. 27, so that in the Shakespeare Britta Stallmeister studied at the Hanover Hochschule for Music and Theatre with Carl-Heinz Müller. Her first guest of the verse. songs classical regularity is avowedly to the fore. Likewise appearances took her to the Schloss Rheinberg Chamber Opera, where she sang the title rôle in E.T.A. Hoffmann’sUn- KORNGOLD Harmonically Korngold leaves us in absolutely no doubt Korngold gradually reins in his predilection for using large dine. In the same year she was a prizewinner of the German Music Council and the German Musikleben Institute, that he has no intention of abandoning tonality, even though intervals, so that in Opp. 29 and 31 they scarcely appear. finally joining the Hamburg Staatsoper International Opera Studio. In 1998 she joined Frankfurt Opera, where she has there are moments in Op. 22 when he appears to be on the Should the impression be given that the Shakespeare sung a varied repertoire, including Mozart’s Pamina and Susanna, Drusilla (L’incoronazione di Poppea), Dalinda (Ar- Songs • 1 verge of doing so. The second song in particular includes songs contain somewhat naive simplicities, that charge iodante), Oscar (Un ballo in maschera), Marzelline (Fidelio), Cordelia (Lear) and Zdenka (Arabella). Guest engage- tonal layers and episodes of the sort which with other should be energetically repudiated. In spite of all the folk- ments have taken her to the Dresden Semper Opera, to festivals in Bayreuth and Salzburg, and to the Vienna Theater composers prepared the way for atonality – but not so with song-like traits and intentional simplicity Korngold writes an der Wien.
    [Show full text]
  • Richard Strauss Seine Kindheit Und Jugend Verlebte Richard Strauss in München, Worauf Kapellmeisterengagements Ihn 1885 * 11
    Strauss, Richard Richard Strauss Seine Kindheit und Jugend verlebte Richard Strauss in München, worauf Kapellmeisterengagements ihn 1885 * 11. Juni 1864 in München, Deutschland nach Meiningen, 1886 zurück nach München und 1889 † 8. September 1949 in Garmisch, Deutschland nach Weimar führten. Nach einer abermaligen Anstel- lung an der Münchner Hofoper von 1894 bis 1898 ging Komponist, Dirigent, Opernleiter, Kulturpolitiker er 1898 als Hofkapellmeister nach Berlin und übernahm 1918 zusammen mit Franz Schalk die Leitung der Wiener »Wahre Kunst adelt jeden Saal und anständiger Gelder- Hofoper bis 1924. Seit 1908 besaß er eine Villa in Garmi- werb für Frau und Kinder schändet nicht – einmal einen sch, ab 1925 eine in Wien. Nach dem Ende des Zweiten Künstler.« Weltkriegs lebte Strauss in der Schweiz, bis er kurz vor seinem Tod 1949 nach Garmisch zurückkehrte. Eine um- Richard Strauss 1908 in Entgegnung auf Vorwürfe, dass fangreiche Reisetätigkeit als Dirigent hatte ihn von jun- er 1904 zwei Konzerte in dem New Yorker Wanamaker- gen Jahren an bis ins hohe Alter in zahlreiche Orte des Kaufhaus dirigiert hatte, zitiert nach Walter Werbeck: In- und Auslandes geführt. Einleitung, in: Werbeck 2014, S. 9. Biografie Profil Richard Strauss wurde 1864 in München als Sohn des Richard Strauss war einer der erfolgreichsten und zug- Ersten Hornisten der Münchner Hofoper Franz Strauss leich umstrittensten Musiker seiner Zeit. Als Komponist und seiner Frau Josepha Pschorr, einer Tochter des Brau- arbeitete er hauptsächlich in den Gattungen Oper, Sinfo- ereibesitzers Georg Pschorr d. Ä. geboren. Mit vier Jah- nische Dichtung und Lied. Im Zentrum seiner musikali- ren erhielt er ersten Klavierunterricht bei dem Harfenis- schen Ästhetik stand das Ziel, in Tönen plastisch und ten August Tombo, mit acht Jahren Geigenunterricht bei konkret menschliche Konflikte auszudrücken und indivi- Benno Walter, der Konzertmeister der Münchner Hof- duelle Charaktere zu schildern.
    [Show full text]
  • Marta Feuchtwanger Papers 0206
    http://oac.cdlib.org/findaid/ark:/13030/kt10003750 No online items Finding Aid for Marta Feuchtwanger papers 0206 Finding aid prepared by Michaela Ullmann USC Libraries Special Collections Doheny Memorial Library 206 3550 Trousdale Parkway Los Angeles, California 90089-0189 [email protected] URL: http://libraries.usc.edu/locations/special-collections Finding Aid for Marta 02061223 1 Feuchtwanger papers 0206 Language of Material: English Contributing Institution: USC Libraries Special Collections Title: Marta Feuchtwanger papers creator: Franklin, Carl M. (Carl Mason) creator: Waldo, Hilde creator: Feuchtwanger, Marta Identifier/Call Number: 0206 Identifier/Call Number: 1223 Physical Description: 98.57 Linear Feet173 boxes Date (inclusive): 1940-1987 Abstract: This archive contains the correspondence of Marta Feuchtwanger, wife of German-Jewish writer Lion Feuchtwanger, who survived her husband by almost thirty years. Marta Feuchtwanger remained an important figure in the exile community and devoted the remainder of her life to promoting the work of her husband. The collection contains Marta Feuchtwanger's personal correspondence, texts and manuscripts by her and others, royalty statements received for the works of her husband, correspondence with publishers, and newspaper clippings mentioning Lion and Marta Feuchtwanger and other exiles. The collection also includes correspondence regarding the establishment and administration of the Feuchtwanger Memorial Library and Villa Aurora. Storage Unit: 91g Storage Unit: 91h Scope and Content This archive contains the correspondence of Marta Feuchtwanger, wife of German-Jewish writer Lion Feuchtwanger, who survived her husband by almost thirty years. Marta Feuchtwanger remained an important figure in the exile community and devoted the remainder of her life after his death to promoting the work of her husband.
    [Show full text]
  • Gemeinde-Zeitung
    An einen Haushalt September 2013 Postentgelt bar bezahlt GEMEINDE-ZEITUNG der Marktgemeinde Orth an der Donau 33 Kinder sind heuer in die Volksschule einge- treten. Die Fotos zeigen die „Tafelklassler“ mit ihren Lehrerinnen VOL Emma Zehetbauer (1a), Dipl.Päd. Martina Haumberger und Dipl.Päd. Marlies Radakovics (1b) sowie Direktorin Liane Babitsch Fotos: J. Windisch NACHRUF Wir trauern um unseren Gemeinderat Ing. Günter Mayer * 27. März 1960 † 21. August 2013 Völlig unerwartet ist am Mittwoch, dem 21. August unser geschätzter Gemeinderatskollege und guter Freund, Herr Ing. Günter Mayer, verstorben. Menschlichkeit und Freundlichkeit machten ihn zu einem besonders liebenswerten Men- schen. Seit 2005 war er als Gemeinderat sowie im Kulturausschuss tätig, Mitglied bzw. Vorsitz im Prüfungsausschuss der Volksschulgemeinde und Hauptschulgemeinde Orth. Er hat an wichti- gen Projekten in den Arbeitskreisen sowie im Dorferneuerungsverein Orth maßgeblich und er- folgreich mitgewirkt. Verantwortungsbewusstsein, Kompetenz sowie sein freundliches Wesen und immer hilfsbe- reites Auftreten zeichneten seine Persönlichkeit aus. Wir müssen zur Kenntnis nehmen, dass er im Gemeinderat eine große Lücke hinterlässt, die schwer zu schließen sein wird. Durch sein gemeinnütziges Engagement in zahlreichen Funk- tionen wird er uns immer als Vorbild in Erinnerung bleiben. Für sein Wirken können wir nur dankbar sein. Unser Mitgefühl gilt ganz besonders seiner Frau und seinen Kindern, seinen Eltern und al- len Angehörigen. Wir trauern gemeinsam mit seiner Familie um eine große Persönlichkeit der Marktgemein- de Orth an der der Donau und um einen persönlichen Freund von uns allen. Für Deine Gemeinderatskollegen und Freunde GEMEINDENACHRICHTEN · SEITE 2 gemz3_13_s03_04aktu 16.09.2013 17:52 Uhr Seite 1 AKTUELL IN DER GEMEINDE Willkommen im neuen Schuljahr Daten und Fakten zu Schule, Kindergarten und Hort sonderheit auf die Kin- der: Für die ersten Klassen geht es schon Anfang Oktober eine Woche nach Mariazell zum Schwimmenlernen und zum sozialen Ler- nen.
    [Show full text]