nur neuesten beitrage
© Amadeus Festival Vienna 2024
Saturday, June 29, 2024, 5 p.m.
Festival Bühne
Bastiengasse 36-38
1180 Vienna
Tickets order here.
Nadia Kalmykova, violin
Liuba Kalmykova, violin
Kasumi Yui, piano
M. Moszkovsky: Suite for 2 violins and piano op. 71 (20’)
H. Gál: Sonata for 2 violins and piano op. 96 (22’)
D. Shostakovich: 5 pieces for 2 violins and piano (10’)
P. De Sarasate: Navarra op. 33 (6′)
© Louise Zemlinsky, Alexander Zemlinsky Fonds
Gerold Gruber reports on the composers Alexander Zemlinsky and Reynaldo Hahn.
Sunday, June 23, 2024;
11:00 a.m.
Great Hall, Brucknerhaus
Untere Donaulände 7
A-4010 Linz
Tickets here.
There will be a concert introduction for concert goers at 10:00 a.m. (with free admission).
Gerold W. Gruber
Marie-Theres Arnbom
Paul Dukas (1865-1935) – La Péri. Poème dansé for orchestra (1909–10)
Reynaldo Hahn (1874–1947) – Concerto in E major for piano and orchestra (1930)
Alexander von Zemlinsky (1871–1942) – A dance poem. Ballet in one act (1901, 1904)
Shani Diluka, piano
Orchestra Divertimento Viennese
Brass Band Upper Austria, stage music
Vinzenz Praxmarer, conductor
The Linz conductor Vinzenz Praxmarer and his orchestra Divertimento Viennese present sound-drunk dance poems from Vienna and Paris at the turn of the century. While Alexander von Zemlinsky’s Ein Tanzpoem, the revised Act II of an unfinished setting of the ballet The Triumph of Time by Hugo von Hofmannsthal, only had its premiere 50 years after the composer’s death, Paul Dukas was able to perform what he himself described as Poème dansé Ballet La Péri celebrated a great success at its premiere in 1912. In between, a real gem will be heard, with the world-famous pianist Shani Diluka as soloist: the fascinating piano concerto by Reynaldo Hahn, the middle movement of which is entitled “Danse”.
Link to program here.
© The Ciompi Quartet
Concert series “Echo of the Unheard” | June 18, 2024 I Arnold Schönberg and Wolfgang Fraenkel
Arnold Schönberg and Wolfgang Fraenkel are historically linked: two progressive Jewish composers who fled Europe with the rise of the Nazis. Schönberg came to the United States while the younger Fraenkel spent eight years in Shanghai, where he was an important teacher and cultural force. This concert compares these two strong personalities through two of their string quartets. Fraenkel’s quartet contains a dedication to the much admired Schönberg.
Tuesday, June 18, 2024, 7 p.m.
Palais Ehrbar – small Ehrbar Saal
Mühlgasse 28
1040 Vienna
Admission free! / eventjet.at
Eric Pritchard, violin | Hsiao-mei Ku, violin | Jonathan Bagg, viola | Caroline Stinson, cello
Arnold Schönberg: String Quartet No. 4 op 37
Wolfgang Fraenkel: Music for String Quartet (1949)
Ulrike Anton (Director of the Arnold Schönberg Center Vienna) | Gerold Gruber (founder of exil.arte and head of the Exilarte Center)
© The Herbert and Trudl Zipper Archives Collection , Colburn School (LA, USA)
Courage – Music in Resistance Against National Socialism I June 3rd, 2024
The Exilarte Center makes what has been silenced resonate again and makes what has been forgotten visible again.
During the dark times of National Socialism, using music to send a sign of resistance was for many Jewish composers the only way to accuse, rebel or find hope again in desperate situations. Many of them were persecuted, murdered or forced into exile. But their works, which were sometimes created under the most adverse circumstances, still bear witness to unparalleled courage and remind us of the power that music radiates. Music helped to survive and endure what was immediately happening. But the sounds created also made it possible to denounce the injustice of the perpetrators with hidden musical messages. Viktor Ullmann composed his Emperor of Atlantis in the Theresienstadt ghetto, mercilessly holding up a mirror to the terror regime before he was murdered in Auschwitz; Herbert Zipper secretly wrote a resistance song in the Dachau concentration camp and Hans Gál ironically presented the morning wake-up call in the internment camp in Great Britain as a refugee in his Huyton Suite. Some of the still undiscovered works from this program are in the archives of the Exilarte Center of the mdw.
Glass Hall / Magna Auditorium
Musikvereinsplatz 1,
Bösendorferstrasse 12,
A-1010 Vienna
Admission: tickets@musikverein.at
Adrian Eröd, baritone
Raimund Lissy, violin
Clemens Flieder, violin
Ulrike Anton, flute
Armin Egger, guitar
David Hausknecht, piano
Gerold Gruber, lecture
RICHARD FUCHS
Das Kaddisch
HERBERT ZIPPER
Dachaulied
HANS WINTERBERG
Theresienstadt Suite
RICHARD FUCHS
from: Vom Jüdischen Schicksal
Stimme der Vorzeit
VIKTOR ULLMANN
Der Kaiser von Atlantis – Auszüge
WILHELM GROSZ
A Song in Exile
HANS GÁL
Huyton Suite
WILHELM GROSZ
Great Times
© Chris Boyes
Dance band arrangements by members of the Auschwitz Men’s Orchestra played by musicians from the University of Michigan School of Music, Theater & Dance under the baton of Oriol Sans.
Monday, May 13, 2024, 8 p.m.
Jewish Museum of the City of Vienna
Dorotheergasse 11
1010 Vienna
The ten short pieces on this program were arranged by Polish political prisoners who were members of the Auschwitz Orchestra. They used popular German hits of the 1930s and 40s – tangos, waltzes and foxtrots arranged and orchestrated for a dance band that played Sunday concerts for the Auschwitz garrison near the villa of Commandant Höss. The resulting manuscripts, which I began researching in May 2016, are stored in the collections department of the Auschwitz-Birkenau State Museum. Occasionally the prisoners signed these manuscripts with their prisoner number, e.g. B. Antoni Gargul, a viola player and Polish soldier (5665), or Maksymilian Piłat (5131), a bassoonist with a conservatory diploma who played in the orchestra of the State Opera and the Baltic Philharmonic in Gdansk after the war.
In the musical realization of these manuscripts for tonight’s performance, we retained the original instrumentation as much as possible and made only very small changes in the event of obvious errors. You hear these works, silent for over 70 years, as close as possible to how they sounded in 1942 or ’43 when they were performed at Auschwitz 1. The lines spoken by our singers are taken from testimonies and interviews with members of the Auschwitz Orchestra conducted in the post-war period.
We would like to thank the Copernicus Institute, the Exilarte Center, Dean David Gier, the University of Michigan School of Music, Theater & Dance, and the Global Tour Fund of the School of Music, Theater & Dance for making this concert possible.
Patricia Hall, 2020
Oriol Sans, conductor
Musicians from the University of Michigan School of Music, Theater & Dance
Gerold Gruber
© Parlamentsdirektion/Johannes Zinner
On the occasion of the anniversary of the liberation of the Mauthausen concentration camp, the Austrian Parliament will remember the victims of National Socialism on Friday, May 3, 2024. The event will be accompanied by music from the Exilarte Center and broadcast live on ORF 2.
Friday, May 3, 2024; 11:00 a.m.
Parliament Austria – Federal Assembly Hall
Dr.-Karl-Renner-Ring 3
A-1017 Vienna
Opening words:
Wolfgang Sobotka, President of the National Council
Walter Arlen (1920-2023): Sonnet for violin and piano
Walter Bricht (1904-1970): Intermezzo from Four Pieces for piano, for the left hand (1933)
Wilhelm Grosz (1894-1939): Eastern Jewish folk songs for a singing voice and piano
Artists:
Aleksandra Dimić, vocals
Karla Križ, violin
Anastasija Richter, piano
Inspired by Arnold Schönberg’s 150th birthday, celebrated around the world, the new exhibition at the mdw’s Exilarte Center sheds light on the social and cultural environment of the founder of the Second Viennese School. In particular, attention is paid to Alexander Zemlinsky, who taught Schönberg and introduced him to the Viennese music circles, and to Richard Hoffmann, who was a pupil of Schönberg and later became his assistant.
These three personalities, their professional, friendly and musical connections as well as their fates during the time of the Nazi regime are brought closer using life documents, photos and music manuscripts.
Countless other free spirits of the early 20th century from music, literature, fine arts and architecture as well as wealthy art lovers and patrons met for artistic exchange and lavish festivals in the artists’ colony planned by Josef Hoffmann in what was already the posh 19th district of Vienna. Most of them had Jewish roots and were persecuted by the Nazis. Many were able to emigrate, many died in the concentration camps.
Dazzling personalities such as Alma Mahler-Werfel, Gustav Mahler, Carl Moll, Koloman Moser, Hugo Henneberg, Sigmund Freud, Egon and Emmy Wellesz, Emil and Yella Hertzka, Richard Gerstl, Adolf Loos and Arnold Schönberg inspired one another in this Art Nouveau villa colony, which will be recreated as a model for the exhibition.
Arnold Schönberg was one of the first to emigrate in 1933, Richard Hoffmann in 1935 and Alexander Zemlinksy after the “Anschluss” in 1938… How much does the forced exile change a person, an artist in his work? In the exhibition we take a look at the respective oeuvre before and after fleeing into an uncertain future.
The score for one of Arnold Schönberg’s best-known works, A Survivor from Warsaw, written in the USA in 1947, is contextualised in the exhibition. Alexander Zemlinsky, who had previously written large symphonic works, has almost fallen silent as a result of the persecution: on display are the two song collections that he created in New York from 1938 (op. 27) and 1940 (without op.).
The question of what life in Europe would have been like for millions of people affected without Hitler’s National Socialist racial doctrine can no longer be answered and the loss of artistic potential in Europe as a result cannot be measured. We show the arbitrary bureaucracy with which Jews and people critical of the system were harassed. Documents such as Zemlinsky’s Reich Flight Tax Notice and Alien Registration Receipt Card with fingerprint can be seen in the original.
Zemlinsky and Schönberg managed to escape to the USA by transatlantic steamship, Richard Hoffmann emigrated to New Zealand. Other flight fates, paths to places of exile for women, men and children are reconstructed in the exhibition.
Many composers and musicians from the society around Zemlinsky, Schönberg and Hoffmann did not succeed in finding freedom. They lived underground (e.g. Josef Polnauer, Olga Novakovic and others) or were murdered by the Nazis (e.g. Schönberg’s family members or Schönberg’s friend and publisher Henri Hinrichsen).
“Triangle of the Viennese Tradition” is the title of the connection between three musicians who shared a similar fate as composers, educators and friends: they were of Jewish origin and therefore outcasts and exiles.
Admission free!
Opening hours:
March 05 – December 20, 2024
Tuesday – Friday 3:00 p.m. – 7:00 p.m. Saturday 1:00 p.m. – 5:00 p.m
Holidays: closed
Exilarte Center of the mdw – University of Music and Performing Arts Vienna Lothringerstrasse 18. 1 Floor 1030 Vienna
