{"id":5100,"date":"2021-06-23T09:27:38","date_gmt":"2021-06-23T09:27:38","guid":{"rendered":"https:\/\/exilarte.org\/?page_id=5100"},"modified":"2025-05-15T10:56:56","modified_gmt":"2025-05-15T08:56:56","slug":"permanent-exhibitions-2","status":"publish","type":"page","link":"https:\/\/exilarte.org\/en\/permanent-exhibitions-2","title":{"rendered":"Permanent Exhibitions"},"content":{"rendered":"\n

“I return to Vienna when I compose” <\/h2>\n\n\n\n

(Robert F\u00fcrstenthal)<\/h3>\n\n\n\n

Now a permanent exhibition – Exilarte Center entrance<\/p>\n\n\n\n

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\u00a9 Maria Noisternig<\/figcaption><\/figure>\n\n\n\n
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\u00a9 Maria Noisternig<\/figcaption><\/figure>\n\n\n\n
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\u00a9 Maria Noisternig<\/figcaption><\/figure>\n<\/figure>\n\n\n\n

An entire generation of younger musicians was deprived of ever being admitted to the mdw by this cultural catastrophe.<\/p><\/blockquote>\n\n\n\n

The Exilarte Center of the mdw – University of Music and Performing Arts Vienna<\/strong>, is situated in exactly the same building where talented musicians studied and pioneering lecturers taught. Between 1933 and 1938, many of the mdw\u2019s most gifted individuals were forced to flee the Nazi terror. Some managed to continue their careers, while others found they had lost the very foundations of their work. An entire generation of younger musicians was deprived of ever being admitted to the mdw by this cultural catastrophe. The first exhibition opening the newly founded Exilarte Center is devoted to the lost musical legacies and the fates of the many musicians prosecuted by the Nazis.<\/p>\n\n\n\n

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Georg Tintner<\/strong><\/p>\n\n\n\n

The first Jew to join the Vienna\u2019s Boys\u2019 Choir; studied at the mdw and later in exile worked as a farmer in New Zealand before becoming one of Bruckner\u2019s greatest interpreters, working solely with provincial orchestras which, until his recordings were released, were largely unknown. <\/p>\n<\/div>\n\n\n\n

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Herbert Zipper<\/strong><\/p>\n\n\n\n

A student at the mdw, subsequently deported by the Nazis yet managed to escape from both Dachau and Buchenwald. In exile he later founded both the Manila Symphony Orchestra and the Brooklyn Symphony Orchestra. He remained an active pedagogue in the Far East while simultaneously working as Projects\u2019 Director at UCLA.<\/p>\n<\/div>\n\n\n\n

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Alma Ros\u00e9<\/strong><\/p>\n\n\n\n

Studied at the mdw, performed with her father, leader of one of the most renowned quartets and concert masters of the Vienna Philharmonic. Exiled to England following the dismissal of her father, she returned to the continent as their only means of support before her arrest and subsequent death at Auschwitz, where, nevertheless, she survived long enough to conduct and manage the all-women orchestra.<\/p>\n<\/div>\n<\/div>\n\n\n\n

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Walter Arlen<\/strong><\/p>\n\n\n\n

Excluded from his high school as a Jew and unable to even apply for a place at the mdw he fled to the United States, where he became a music critic for the Los Angeles Times; founded and directed the music department at Loyola Marymount University while composing in private. His compositions have only recently come to light with the release of 6 CDs. He continues to live and work in Los Angeles as a youthful 97 year old.<\/p>\n<\/div>\n\n\n\n

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Robert F\u00fcrstenthal<\/strong><\/p>\n\n\n\n

Also excluded from high school and unable to audition for the mdw; exile to the United States meant leaving Nazi Vienna and his first love who fled to Switzerland. Following a successful career as an accountant, he returned to composition only after being reunited with the love of his youth some forty years later.<\/p>\n<\/div>\n\n\n\n

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Erich Wolfgang Korngold<\/strong><\/p>\n\n\n\n

A child prodigy, and a world renowned composer, he taught at the mdw for a short time. In American exile, he reluctantly saw his only means of survival as that of Hollywood composer, where his work resulted in such a fundamental paradigm shift that, following his departure from the studios, his main output would be dismissed as \u201cmovie music\u201d. His natural musical idiom perfectly matched the needs of American high-emotion cinema. This meant that movie music actually sounded like him, not the other way around.<\/p>\n<\/div>\n<\/div>\n\n\n\n

The Emmy and Egon Wellesz Piano<\/h2>\n\n\n\n

Permanent Exhibition – Room A 0103<\/em><\/p>\n\n\n\n

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\u00a9 Iby-Jolande Varga<\/p>\n\n\n\n

History<\/h2>\n\n\n\n