About the Exhibition Applications Koloman Moser and the Stage
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IGUSTAV MAHLER Ik STUDY of HIS PERSONALITY 6 WORK
IGUSTAV MAHLER Ik STUDY OF HIS PERSONALITY 6 WORK PAUL STEFAN ML 41O M23S831 c.2 MUSI UNIVERSITY OF TORONTO Presented to the FACULTY OF Music LIBRARY by Estate of Robert A. Fenn GUSTAV MAHLER A Study of His Personality and tf^ork BY PAUL STEFAN TRANSLATED FROM THE GERMAN EY T. E. CLARK NEW YORK : G. SCHIRMER COPYRIGHT, 1913, BY G. SCHIRMER 24189 To OSKAR FRIED WHOSE GREAT PERFORMANCES OF MAHLER'S WORKS ARE SHINING POINTS IN BERLIN'S MUSICAL LIFE, AND ITS MUSICIANS' MOST SPLENDID REMEMBRANCES, THIS TRANSLATION IS RESPECTFULLY DEDICATED BERLIN, Summer of 1912. TRANSLATOR'S PREFACE The present translation was undertaken by the writer some two years ago, on the appearance of the first German edition. Oskar Fried had made known to us in Berlin the overwhelming beauty of Mahler's music, and it was intended that the book should pave the way for Mahler in England. From his appearance there, we hoped that his genius as man and musi- cian would be recognised, and also that his example would put an end to the intolerable existing chaos in reproductive music- making, wherein every quack may succeed who is unscrupulous enough and wealthy enough to hold out until he becomes "popular." The English musician's prayer was: "God pre- serve Mozart and Beethoven until the right man comes," and this man would have been Mahler. Then came Mahler's death with such appalling suddenness for our youthful enthusiasm. Since that tragedy, "young" musicians suddenly find themselves a generation older, if only for the reason that the responsibility of continuing Mah- ler's ideals now rests upon their shoulders in dead earnest. -
A Pair of Art Deco Amboyna and Gilt Armchairs Attributed to Josef Hoffmann of Vienna
A Pair of Art Deco Amboyna and Gilt Armchairs Attributed to Josef Hoffmann of Vienna Circa 1910 – 12 23.5 x 20.5 x 44 in high (60 x 52 x 112 cm high) The tops of the curved attenuated backs are fitted with giltwood cappings. The backs and fronts of the high backs are quarter veneered and the arms are curved and shaped around the seat. With square legs and upholstered in a brown patterned velvet. Josef Hoffmann (1870-1956) was an ! Austrian architect, interior designer and applied artist. He studied architecture at the Academy of Fine Arts in Vienna, Austria, under Art Nouveau architect Otto Wagner, whose theories of functional, modern architecture profoundly influenced his works and, in 1896, he joined his office. ! In 1898, he established his own practice in Vienna. In 1897, inspired by Mackintosh and the Glasgow School, he was one of the founding members with Gustav Klimt, of an association of revolutionary artists and architects, the Vienna Secession.!!In 1903, he founded, with architects Koloman Moser and Joseph Maria Olbrich, the Wiener Werkstätte for decorative arts. ! They aspired to the renaissance of the arts and crafts and to bring more abstract and purer forms to the designs of buildings and furniture, glass and metalwork, following the concept of total work of art. Hoffman's works combined functionality and simplicity of craft production with refined and innovative ornamental details and geometric elements. He is an important precursor of the Modern Movement and Art Deco. !!In 1905, Hoffmann, Klimt and the Wiener Werkstätte artists, designed the Palais Stoclet, in Brussels, the Capital of Art Nouveau and city of Victor Horta. -
KOLOMAN MOSER Ø KOLOMAN DESIGNING MODERN VIENNA Ø MOSER 1897–1907 Edited by Christian Witt-Dörring
5294-NG_MOSER_jacket_offset 19.03.13 13:47 Seite 1 MOSER KOLOMAN KOLOMAN MOSER ø KOLOMAN DESIGNING MODERN VIENNA ø MOSER 1897–1907 Edited by Christian Witt-Dörring With preface by Ronald S. Lauder, foreword by Renée Price, and contributions by Rainald Franz, Ernst Ploil, Elisabeth Schmuttermeier, Janis Staggs, Angela Völker, and Christian Witt-Dörring FRONT COVER: This catalogue accompanies an (TOP ROW) Armchair, ca. 1903, Neue Galerie DESIGNING New York; Easter egg, 1905, A.P. Collection, MODERN VIENNA exhibition at the Neue Galerie London; (MIDDLE ROW) Vase, 1905, New York and the Museum of A.P. Collection, London; Jewelry box, 1907, 1897–1907 Fine Arts, Houston, devoted to Private Collection; (BOTTOM ROW) Vase, 1903, Ernst Ploil, Vienna; Bread basket, 1910, Austrian artist and designer Asenbaum, London Koloman Moser (1868–1918). It BACK COVER: is the first museum retrospec- (TOP ROW) Centerpiece with handle, 1904, tive in the United States focused Private Collection; Coffer given by Gustav on Moser’s decorative arts. The Mahler to Alma Mahler, 1902, Private Collection; (MIDDLE ROW) Two napkin rings, exhibition is organized by Dr. 1904, Private Collection; Table, 1904, Private Christian Witt-Dörring, the Neue Collection; (BOTTOM ROW) Mustard pot, 1905, Private Collection; Display case for the Galerie Curator of Decorative Arts. Schwestern Flöge (Flöge Sisters) fashion salon, 1904, Private Collection The exhibition and catalogue survey the entirety of Moser’s decorative arts career. They ex- amine his early work as a graphic designer and his involvement with the Vienna Secession, with spe- cial focus given to his role as an PRESTEL PRESTEL artist for the journal Ver Sacrum (Sacred Spring). -
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 -
Kunsthaus Zürich Presents 'Hodler, Klimt and the Wiener Werkstätte'
Media release Zurich, 20 May 2021 Kunsthaus Zürich presents ‘Hodler, Klimt and the Wiener Werkstätte’ From 21 May to 29 August, the Kunsthaus Zürich presents paintings, drawings, furniture, jewellery and design objects from the heyday of the Vienna Secession. The presentation focuses on works by Josef Hoffmann, Ferdinand Hodler and Gustav Klimt as well as the creations of Dagobert Peche. Peche was the artistic director of the Wiener Werkstätte branch that opened on Zurich’s Bahnhofstrasse in 1917, and whose history is being examined by scholars for the first time as part of the exhibition. The presentation includes some 160 exhibits. It is curated by Tobias G. Natter, former Director of the Leopold Museum in Vienna and author of the catalogues raisonnés of the paintings of Gustav Klimt (2012) and Egon Schiele (2017). The exhibition sheds new light, from a Viennese perspective, on Ferdinand Hodler (1853–1918), who during his lifetime was already being seen as Switzerland’s ‘national artist’. It reminds us that Hodler owed his international breakthrough to the triumph of his participation in the 19th Exhibition of the Vienna Secession in 1904, which brought him the social and financial success he had long craved. Hodler also spent several weeks in Vienna during the exhibition, experiencing at first hand the aesthetic of Viennese ‘Jugendstil’. ‘HIGH AND LOW’ Of the artists Hodler met in Vienna, he reserved the greatest admiration for Gustav Klimt (1862–1918), and in particular ‘the decorative element’ of his art. Yet while known as a peerless exponent of ‘Vienna 1900’, eroticism and ornament, Klimt was more than just the leading figure in Viennese modernism. -
The Correspondence Between Arnold Schoenberg and Universal Edition
The Correspondence between Arnold Schoenberg and Universal Edition Katharina Bleier Wissenschaftszentrum Arnold Schönberg Universität für Musik und darstellende Kunst Wien Therese Muxeneder Arnold Schönberg Center, Wien ‘[…] publishers and authors cannot remain friends in the long run.’1 The first curator of Schoenberg’s archival legacy was the composer himself: throughout his life he remained an archivally gifted and visionary collector, the guardian of what is now considered an unparalleled heritage in the musical history of the last century. Its spectrum, ranging from compositions and philosophical-political, musical-aesthetic and literary-political writings, to paintings and drawings and finally to the invention of objects, illuminates a personality who as both man and artist resisted to the end the tendency to conform, a personality worth discovering not only for the indelible signature he left upon the music of his century. The Arnold Schönberg Center, established in 1998 in Vienna, is a unique repository of Schoenberg’s archival legacy2 and a cultural institution that is open to the public. The Schoenberg archive is one of the most renowned and comprehensive collections of works by a twentieth-century composer and promotes a broad spectrum of research. In addition to the archive, exhibition and concert facilities, the Center also houses the Arnold Schönberg Research Center (Wissenschaftszentrum Arnold Schönberg, Institut für Musikalische Stilforschung of the Universität für Musik und darstellende Kunst Wien). 19 ARCHIVAL NOTES Sources and Research from the Institute of Music, No. 1 (2016) © Fondazione Giorgio Cini, Venezia ISBN 9788896445136 | ISSN 2499‒832X KATHARINA BLEIER – THERESE MUXENEDER Activities at the Research Center are focused on the Viennese School, particularly in its role as a group that had a lasting influence on twentieth- century music throughout the world. -
Bruno Walter (Ca
[To view this image, refer to the print version of this title.] Erik Ryding and Rebecca Pechefsky Yale University Press New Haven and London Frontispiece: Bruno Walter (ca. ). Courtesy of Österreichisches Theatermuseum. Copyright © by Yale University. All rights reserved. This book may not be reproduced, in whole or in part, including illustrations, in any form (beyond that copying permitted by Sections and of the U.S. Copyright Law and except by reviewers for the public press), without written permission from the publishers. Designed by Sonia L. Shannon Set in Bulmer type by The Composing Room of Michigan, Grand Rapids, Mich. Printed in the United States of America by R. R. Donnelley,Harrisonburg, Va. Library of Congress Cataloging-in-Publication Data Ryding, Erik S., – Bruno Walter : a world elsewhere / by Erik Ryding and Rebecca Pechefsky. p. cm. Includes bibliographical references, filmography,and indexes. ISBN --- (cloth : alk. paper) . Walter, Bruno, ‒. Conductors (Music)— Biography. I. Pechefsky,Rebecca. II. Title. ML.W R .Ј—dc [B] - A catalogue record for this book is available from the British Library. The paper in this book meets the guidelines for permanence and durability of the Committee on Production Guidelines for Book Longevity of the Council on Library Resources. For Emily, Mary, and William In memoriam Rachel Kemper and Howard Pechefsky Contents Illustrations follow pages and Preface xi Acknowledgments xv Bruno Schlesinger Berlin, Cologne, Hamburg,– Kapellmeister Walter Breslau, Pressburg, Riga, Berlin,‒ -
Art Nouveau 50 Works of Art You Should Know
02 ARTHUR HEYGATE MACKMURDO, WREN’S CITY CHURCHES 04 HENRI DE TOULOUSE- LAUTREC, DIVAN JAPONAIS 14 ALPHONSE MUCHA, ZODIAC 12 AUBREY BEARDSLEY, 15 THÉOPHILE-ALEXANDRE ISOLDE STEINLEN, LE CHAT NOIR CABARET 05 MAURICE DENIS, APRIL 34 MARGARET MACDONALD MACKINTOSH, OPERA OF 16 JULES CHÉRET, LOÏE FULLER 06 PAUL GAUGUIN, WHAT! ARE THE SEAS AT THE FOLIES BERGÈRE YOU JEALOUS? AHA OE FEII? 42 GUSTAV KLIMT, FULFIL- 20 ALPHONSE MUCHA, 13 HERMANN OBRIST, MENT (THE EMBRACE) THE ARTS: DANCE THE WHIPLASH 10 EDWARD COLEY BURNE- JONES, LOVE AMONG THE 48 EDMUND DULAC, THESE 21 HENRY VAN DE VELDE, 19 RENÉ LALIQUE, RUINS NO SOONER SAW BEAUTY TROPON DRAGONFLY WOMAN THAN THEY BEGAN TO 11 EDVARD MUNCH, SCREAM AND CHATTER 22 KOLOMAN MOSER, 27 GEORGES FOUQUET, MADONNA DANCING GIRLS PEACOCK 49 KAY NIELSEN, THE PRIN- 31 GUSTAV KLIMT, JUDITH CESS ON THE WAY TO THE 35 EMMANUEL ORAZI, 39 ARCHIBALD KNOX, WITH THE HEAD OF DANCE LA MAISON MODERNE BELT BUCKLE HOLOFERNES 50 SIDNEY SIME, 46 WALTER CRANE, 44 MARIANO FORTUNY, 45 GUSTAV KLIMT, THE KISS THE OMINOUS COUGH NEPTUNE’S HORSES DELPHOS GOWN PAINTING DRAWING GRAPHIC WORK FASHION & JEWELLERY OVERVIEW 03 ANTONI GAUDÍ, SAGRADA FAMÍLIA 08 VICTOR HORTA, HÔTEL TASSEL 18 JOSEPH MARIA OLBRICH, SECESSION BUILDING 07 LOUIS COMFORT TIFFANY, 23 HECTOR GUIMARD, PARAKEETS AND GOLDFISH ENTRANCE TO THE BOWL 28 ALPHONSE MUCHA, LA NATURE MÉTRO PORTE DAUPHINE 09 LOUIS COMFORT TIFFANY, 29 FRANÇOIS-RAOUL LARCHE, FAVRILE VASE LOÏE FULLER TABLE LAMP 24 OTTO WAGNER, KARLSPLATZ UNDER- 25 ÉMILE GALLÉ, GLASS VASE 33 PETER BEHRENS, JUGENDSTIL -
The Modernist Kaleidoscope: Schoenberg's Reception History in England, America, Germany and Austria 1908-1924 by Sarah Elain
The Modernist Kaleidoscope: Schoenberg’s Reception History in England, America, Germany and Austria 1908-1924 by Sarah Elaine Neill Department of Music Duke University Date:_______________________ Approved: ___________________________ R. Larry Todd, Supervisor ___________________________ Severine Neff ___________________________ Philip Rupprecht ___________________________ John Supko ___________________________ Jacqueline Waeber Dissertation submitted in partial fulfillment of the requirements for the degree of Doctor of Philosophy in the Department of Music in the Graduate School of Duke University 2014 ABSTRACT The Modernist Kaleidoscope: Schoenberg’s Reception History in England, America, Germany and Austria 1908-1924 by Sarah Elaine Neill Department of Music Duke University Date:_______________________ Approved: ___________________________ R. Larry Todd, Supervisor ___________________________ Severine Neff ___________________________ Philip Rupprecht ___________________________ John Supko ___________________________ Jacqueline Waeber An abstract of a dissertation submitted in partial fulfillment of the requirements for the degree of Doctor of Philosophy in the Department of Music in the Graduate School of Duke University 2014 Copyright by Sarah Elaine Neill 2014 Abstract Much of our understanding of Schoenberg and his music today is colored by early responses to his so-called free-atonal work from the first part of the twentieth century, especially in his birthplace, Vienna. This early, crucial reception history has been incredibly significant and subversive; the details of the personal and political motivations behind deeply negative or manically positive responses to Schoenberg’s music have not been preserved with the same fidelity as the scandalous reactions themselves. We know that Schoenberg was feared, despised, lauded, and imitated early in his career, but much of the explanation as to why has been forgotten or overlooked. -
Style and Seduction Review
Elana Shapira. Style and Seduction: Jewish Patrons, Architecture, and Design in Fin de Siècle Vienna. Waltham: Brandeis University Press, 2016. xv + 314 pp. Illustrations. $40.00 (paper), ISBN 978-1-61168-921-1. Reviewed by Leslie Topp (Birkbeck, University of London) Published on HABSBURG (July, 2017) Commissioned by Jonathan Kwan Architecture, Design and Identity in Fin-de-Siecle Vienna Elana Shapira’s book investigates the ways in which as secessionist, modernist, and avant-garde. The seces- Jewish patrons, critics, salonniers, and collectors sup- sionist chapter presents rich new research on the critic ported advanced architecture and interior design in Vi- Ludwig Hevesi and the dynamic industrialist and art sup- enna between the mid-nineteenth century and the First porter Karl Wittgenstein; Shapira emphasizes their piv- World War. She convincingly argues that patronage and otal importance to the Vienna Secession and its sensa- other types of intellectual and social support for inno- tional new building on the Naschmarkt designed 1898 vation in architecture and design were deployed by a by Joseph Maria Olbrich, while also arguing that the Se- wide range of Viennese Jews in order to stake a claim cession was crucial to their own image formation as at- for cultural authority in an often hostile context. She tractive outsiders. The modernists include Isidor Singer usefully rejects pat interpretations of patronage as a and Heinrich Kanner, who worked with Otto Wagner to tool of assimilation–as a way of blending in. She ar- craft an sophisticated modern image for their newspa- gues instead, following Hannah Arendt and the literary per, Die Zeit. -
TOCC0500DIGIBKLT.Pdf
JULIUS BITTNER, FORGOTTEN ROMANTIC by Brendan G. Carroll Julius Bittner is one of music’s forgotten Romantics: his richly melodious works are never performed today and he is perhaps the last major composer of the early twentieth century to have been entirely ignored by the recording industry – until now: apart from four songs, this release marks the very first recording of any of his music in modern times. It reveals yet another colourful and individual voice among the many who came to prominence in the period before the First World War – and yet Bittner, an important and integral part of Viennese musical life before the Nazi Anschluss of 1938 subsumed Austria into the German Reich, was once one of the most frequently performed composers of contemporary opera in Austria. He wrote in a fluent, accessible and resolutely tonal style, with an undeniable melodic gift and a real flair for the stage. Bittner was born in Vienna on 9 April 1874, the same year as Franz Schmidt and Arnold Schoenberg. Both of his parents were musical, and he grew up in a cultured, middle-class home where artists and musicians were always welcomed (Brahms was a friend of the family). His father was a lawyer and later a distinguished judge, and initially young Julius followed his father into the legal profession, graduating with honours and eventually serving as a senior member of the judiciary throughout Lower Austria, until 1920. He subsequently became an important official in the Austrian Department of Justice, until ill health in the mid-1920s forced him to retire (he was diabetic). -
Erich Korngold's Discursive Practices: Musical Values in the Salon Community from Vienna to Hollywood
University of Tennessee, Knoxville TRACE: Tennessee Research and Creative Exchange Masters Theses Graduate School 8-2016 Erich Korngold's Discursive Practices: Musical Values in the Salon Community from Vienna to Hollywood Bonnie Lynn Finn University of Tennessee, Knoxville, [email protected] Follow this and additional works at: https://trace.tennessee.edu/utk_gradthes Part of the Musicology Commons Recommended Citation Finn, Bonnie Lynn, "Erich Korngold's Discursive Practices: Musical Values in the Salon Community from Vienna to Hollywood. " Master's Thesis, University of Tennessee, 2016. https://trace.tennessee.edu/utk_gradthes/4036 This Thesis is brought to you for free and open access by the Graduate School at TRACE: Tennessee Research and Creative Exchange. It has been accepted for inclusion in Masters Theses by an authorized administrator of TRACE: Tennessee Research and Creative Exchange. For more information, please contact [email protected]. To the Graduate Council: I am submitting herewith a thesis written by Bonnie Lynn Finn entitled "Erich Korngold's Discursive Practices: Musical Values in the Salon Community from Vienna to Hollywood." I have examined the final electronic copy of this thesis for form and content and recommend that it be accepted in partial fulfillment of the equirr ements for the degree of Master of Music, with a major in Music. Rachel M. Golden, Major Professor We have read this thesis and recommend its acceptance: Leslie C. Gay Jr., Victor Chavez Accepted for the Council: Carolyn R. Hodges Vice Provost and