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The Sound of Color Us That the Korngolds Had Lived There.” Astonishing Talent

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The Sound of Color Us That the Korngolds Had Lived There.” Astonishing Talent The Vienna Review 18 April 2009 The Arts Sylvia Greenberg and husband David Aronson present a CD of songs by the musical legends who haunt their house Hausmusik 6., Theobaldgasse 7 by Stanley Hale all friends or confidants of Bruno Walter and the You could say that their house is haunted: For Korngold family. Gustav Mahler chose Walter, the musical spirits of Gustav Mahler, Giacomo for instance, to prepare the soloists – who re- Puccini, Erich Wolfgang Korngold and Bruno hearsed in the same room in which Greenberg Walter all hover in the hallways of Theobald- and Aronson presented their CD – for the world gasse 7, in Vienna’s 6th District, a lovely 1902 première of Mahler’s monumental 8th Sym- secessionist building off Gumpendorferstrasse. phony in Munich in 1910. Alexander Zemlinsky The Koan Project: Lana Cencic (vocals), Flip Philipp (vibraphone and arrangements) and artist Just a short walk from the Vienna State Opera, it taught Erich Wolfgang composition, likely in the Ty Waltinger in the background, performing at the Brahms Saal on March 9 Photo: Tobias Ratz had been home both to the Korngold family and large music room at No.7, overlooking the street Bruno Walter as well as host to the most influen- that has remained essentially unchanged for over A Vienna Symphony chamber music novelty, tial composers and performers of the time. a century. It was only after Sylvia Greenberg and David Carl Goldmark too, was a close friend of The Koan Project is a work of ‘art in progress’ Aronson settled in, that they learned just what Julius Korngold. Best known for the opera Die kind of role their address played in the musical Königin von Saba, one of the most popular history that continues to define this city. stage works of the time, and he was one of the “The place just felt right,” Aronson said, experts to whom Dr. Korngold turned for ad- “But we didn’t know why until a neighbor told vice in 1909 when he became aware of his son’s The Sound of Color us that the Korngolds had lived there.” astonishing talent. Another was Julius Bittner, a “It was so strong – we both felt it,” Green- gifted composer who was a lawyer and judge by berg agreed, “And we wonder to this day if there profession. His interests were he shared by Dr. aren’t some kind of musical spirits here, that the Korngold, who had also been a lawyer before be- by Cynthia Peck violet red, the deep purple blue that is the last building somehow remembers.” coming a critic. We don’t usually expect the avant garde in color of the sky before the night falls. The higher Theobaldgasse 7 was a locus of the last great Bittner showed some of his own orchestral the jewel-like Brahms-Saal of the Musikverein, strings the greens, true Victorian and viridian, creative era in Viennese music that began at the compositions to Gustav Mahler, who suggested that most perfect of all chamber music concert the lower strings cobalt turquoise and true deep beginning of the twentieth century and contin- he consult Bruno Walter, at Theobaldgasse 7, for halls. It’s a small treasure of a room; acoustically bordello red. The percussion vine black with ued until just before World War II. advice. The collaboration produced among oth- vibrant, it also radiates serenity and calm. The lithopone, the voice, ivory. And, of course, the In their very flat lived Bruno Walter, who, as ers the opera, Die Rote Gred, which Bruno Wal- sound is due to some perfect combination of its crystal tones of the vibes, the cadmium yellow a conductor, ranks similarly to Arturo Toscanni ter conducted in 1908. Bittner became one of width, length and height, and a wooden floor hues. Engulfed in sensations, the visual merges and Leonard Bernstein, and the Korngold fam- Erich Korngold’s closest friends and ultimately suspended like a drum over the space below. But into the heard. ily lived immediately below. Julius Korngold (fa- composed 14 operas, in all. its dignity stems from its beauty, its Greek Ren- It was all an exercise of art in progress: ther of composer Erich Wolfgang Korngold) was And the great Giacomo Puccini visited Theo- aissance design, the greens and reds of the walls, Improvisation as music and improvisation as the respected and feared chief music critic of the baldgasse 7 at least three times in 1913, 1919, and above all, the gold. painting. It is nearly voyeuristic to see a paint- prestigious Neue Freie Presse. It was natural that and 1921 at Julius Korngold’s invitation. On Mar. 9, those colors came to life as if ing being born before your eyes. Waltinger uses these giants of the musical scene would attract The CD was presented to the public at a for the first time, during a treasure of a concert very rare historical pigments, some more than visiting artists, the leading composers and per- soirée in the very rooms that had engendered called “The Koan Project,” part of the Vienna a hundred years old. Just as an old rose has a formers of the time, who with the exception of much of the music. Of those invited, few were Symphony’s chamber music series. Where one fragrance that overwhelms, these old pigments Puccini, all lived in or near Vienna. treated to a live musical event in the truest sense might expect a series of string quartets, the Koan are dazzling. We watched as tempo, rhythm and As Greenberg and Aronson learned more of the Viennese Hausmusik tradition. Ms. Green- Project served up live jazz and live painting. The melody become color. Wait, stop, I wanted to about the history of Theobaldgasse 7, they set berg, with her impeccable vocal skills and radiant jazz stage was all there: the vibraphone, the say: it’s perfect now! But just as the music does, out on an adventure of musical sleuthery of the stage presence, and David Aronson displaying mikes, the sax stand. But here were also pots of the painting continues. musicians who had lived or frequented there. the musicianship gleaned from a lifetime of asso- paint and a 6½ by 3 meter canvas, a third of it A look at Waltinger’s website makes it clear The product is a remarkable series of vocal rendi- ciation with the greatest musicians of our times, covered in a crescent of gold, 24 carat leaf. that transience is a leitmotif: the “Cyclos Pig- tions of the sounds of Jugendstil Vienna – a voy- was a fitting tribute to an earlier generation syn- Conceived by the artist Ty Waltinger and ment Project” involved tossing pigment powder age into musical-Art Nouveau. Greenberg and onymous with the flowering of creativity when composer Flip Philipp, principle percussionist into the wind to spread on the sands of the Saha- Aronson chose 25 pieces composed by artists Vienna was in its perhaps fullest glory. of the Vienna Symphony, the ensemble’s name ra, creating color paintings that slowly returned intimately associat- derives from a term in Zen Buddhism. to nature (see the website below and the 2005 ed with their home. “It describes a saying–often enigmatic or documentary film Zeit. Spuren. Pigmente.). Less The works were paradoxical–that leads one to contemplation,” fleeting is the debut album by Lana Cencic & initially performed writes Philipp in the program notes. “Living and Flip Philipp, The Dust of a Week, presented last live for enthusi- listening inwardly, completely free and sponta- August in Japan. Further Koan Project concerts astic audiences in neous in the here and now – this is what the are planned at Waltinger’s atelier. Vienna, New York, ensemble would like to present.” On the way out, we stopped to donate to Ann Arbor and Los Despite this touch of the esoteric, the acous- “Contrast,” an organization supporting early Angeles. It was these tic jazz was very straightforward, and very good. education for blind children. Sponsors could recitals that caught Singer and composer Lana Cencic, the epitome purchase one of one hundred “sound paintings” the attention of the of charm, guided us through the ensemble and – 30cm by 30cm pieces of the Waltinger paint- producers for the the pieces with ease, but her shimmering voice ing that had accompanied the concert’s dress re- Telos label who pro- left us breathless. hearsal – hung around the space. duced the present As did a quintet of jazz musicians providing In her final song, “Perpetual Blues,” Lana CD of masterworks the inspiration for Waltinger and his creation, had kissed away the blues – all of them: the light that were probably with Philipp on vibraphone, bass clarinet/saxes blues, the heavy blues, and the annoying, never- composed within Fabian Rucker, Wolfgang Rainer on drums, and ending blues. “Now I feel bliss is real” and indeed the walls of this fin Robert Jukic on bass, plus a string quartet, with I did too. Uplifted and light-hearted we left the de Siècle apartment Nicolas Geremus, Gerald Wilfinger, Michael hall, wishing to one and all golden dreams. or energetically dis- Buchmann, and Arne Kircher, all members of cussed, analyzed, the Vienna Symphony. For further information on and performed The tone of the strings and the tablas laid a Ty Waltinger and Flip Philipp projects: there. foundation for the shimmering tones of bells, www.contrast.or.at In addition to the lingering resonance of the vibes. Sheets www.pigmente.at Korngold, there are of color slowly acquired wisps of feathers and www.flip-philipp.at six composers rep- wind. The sax received swaths of ultramarine- www.myspace.com/lanaflip resented on the CD, The CD Hausmusik will be available at major media outlets in Vienna starting mid April oughly engaging in the first preview performance, Theater in Review in spite of a occasional skewed wig or fumbled Look Back in Anger prop.
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