Authors: Michael Haas
40.
The One Who Said ‘Yes‘
.
41.
Harry Stangenberg: ‘Krenek's
Leben des Orest
in der Stuttgarter Inszenierung’,
Anbruch
, 1931, no. 5, p. 124.
42.
Franz Schreker: ‘
Smee und die sieben Jahre
, große Zauberoper in 3 Aufzügen’,
Anbruch
, 1931, nos 6–7, pp. 150–2.
43.
Herbert Windt:
’Andromache‘
,
Anbruch
, 1931, nos 6–7, pp. 152–3.
44.
Viktor Zuckerkandl: ‘Der Schmied von Gent‘
, Neue Freie Presse
, 19. November 1932.
45.
Ibid.
46.
Wellesz 1981, p. 92.
47.
I and Thou
.
48.
Wellesz 1981, p. 94.
49.
Ibid., pp. 97.
50.
Ibid., p. 99.
51.
Hans Müller: ‘Die Angst vor dem Gefühl’,
Neue Freie Presse
, 20 December 1905.
52.
Krenek 1999, p. 222.
53.
Bek 1994, p. 50.
54.
‘New Music at Frankfurt’,
New York Times
, 24 July 1927.
55.
‘Berlin's New Music’,
New York Times
, 10 August 1930.
56.
‘Viennese Pianist soloist at League of Composers’ Concert’,
New York Times
, 4 April 1932.
57.
News of the Day
.
58.
Eduard Beninger: ‘Pianistiche Prob-leme, im Anschluss an die Klavierwerke von Ernst Toch’,
Melos
VII, 1928, p. 68.
59.
The
Genesis Suite
was conceived by the American composer Nathaniel Shilkret in 1945 as a musical setting of the first 11 chapters of the Book of Genesis in a seven-movement suite composed by seven different composers: Shilkret, Schoenberg, Stravinsky, Tansman, Milhaud, Castelnuovo-Tedesco and Toch.
60.
Ernst Toch: ‘Glaubensbekenntnis eines Komponisten’,
Deutsche Blätter
, March–April 1945, pp. 13–15. Ernst Toch Collection: Performing Arts Archive, UCLA. Box 106, item 22
61.
Ernst Toch Collection: Performing Arts Archive, UCLA, unclassified correspondence.
Chapter 7. Hey! We're Alive!
1.
The Fall of the Anti-Christ
and
The Emperor of Atlantis
.
2.
Max Nordau: ‘Das Jahr 1900 in der Weltgeschichte’,
Neue Freie Presse
, 1 January 1901.
3.
Nordau: ‘Das Jahr 1901 in der Weltgeschichte’,
Neue Freie Presse
, 1 January 1902.
4.
Nordau: ‘Das Jahr 1913 in der Welt-geschichte’,
Neue Freie Presse
, 1 January 1914.
5.
Interview published by
Sinn und Form
in 1964. See Jürgen Schebera:
Hanns Eisler
(Mainz: Schott, 1998), p. 282.
6.
Hanns Eisler rarely mentioned his Jewish parentage. In his estate there is little reference beyond an intriguing reminder from an East Berlin synagogue requesting his (continued?) financial support.
7.
The Threepenny Opera
and and
The Rise and Fall of the City of Mahagonny
.
8.
Otto Ernst: ‘Von der sexuellen Aufklärung’,
Neue Freie Presse
, 14 February 1908.
9.
Felix Salten: ‘Sexuelle Aufklärung in der Schule’,
Neue Freie Presse
, 31 December 1919.
10.
Zweig 1970, pp. 343–5
11.
Jelavich 1993, p. 2.
12.
Ibid.
13.
Paul Goldman: ‘Das Überbrettl’,
Neue Freie Presse
, 24 January 1901.
14.
Appignanesi 2004, p. 37.
15.
‘Café in the West’, in this context the western district of Berlin.
16.
Stephan Grossmann: ‘Nachruf für C.d.W’,
Neue Freie Presse
, 20 August 1921.
17.
Goldman: ‘Das Überbrettl’.
18.
Antheil 1949, p. 27.
19.
The Kaiser Wilhelm Memorial church on Berlin's Breitscheidsplatz.
20.
Hanns Eisler 1982, vol. 1, p. 54.
21.
Ibid.
22.
Felix Salten: ‘Ernst Toller: Hoppla, Wir Leben! im Raimundtheater’,
Neue Freie Presse
, 12 November 1927.
23.
Ibid.
24.
Eisenstein 1983, pp. 87–8.
25.
Ibid.
26.
Hinton, Schebera and Juchem 2000, p. 438.
27.
Benatzky was the principal composer and writer of
Im weißen Rößl
, with individual numbers provided by Robert Stolz, Bruno Granichstaedten and Robert Gilbert.
28.
Benatzky 2002, p. 64.
29.
See Kevin Clarke's ‘Judische Dudelei’ in Arnbom, Clarke and Trabitsch 2012, pp. 146–165.
30.
Hanns Eisler 1986, p. 67.
31.
Hanns Eisler 1982, vol. 1, p. 260.
32.
Hanns Eisler 1982, vol. 2, p. 79.
Chapter 8. A Question of Musical Potency
1.
Paul Bekker:
Franz Schreker: Studie zur Kritik der modernen Oper
(Berlin: Schuster and Loeffler, 1919).
2.
Bekker 1919, and Hailey 1994.
3.
Hans Pfitzner:
Die neue Aesthetik der musikalischen Impotenz. Ein Verwesungs-symtom?
(Munich: Verlag der Süd-deutschen Monatshefte, 1920), p. 124.
4.
Paul Bekker: ‘Offener Brief an Julius Korngold’,
Anbruch
, 1924, no. 9, p. 379.
5.
Krenek 1999, pp. 718–19.
6.
Stengel and Gerigk 1943, p. 28.
7.
Beethoven and Moderinism
.
8.
Julius Korngold: ‘Hans Pfitzner über die verunreinigung der Musik’,
Neue Freie Presse
, 9 January 1926.
9.
Of the German Soul
.
10.
Thomas Mann's
Betrachtungen eines Unpolitischen
(Frankfurt: Fischer, 1918), p. 427.
11.
Alfred Einstein: ‘The Position of Modern Music in Germany’,
The Sackbut
, vol. 4 (1924), p. 194.
12.
Ibid., p. 196.
13.
Alban Berg: ‘Die musikalische Impotenz der “neuen Ästhetik” Hans Pfitzners’,
Anbruch
, 1920 nos 11–12, pp. 399–408.
14.
Ibid.
15.
Ibid.
16.
Ibid.
17.
Julius Korngold: ‘Musik’,
Neue Freie Presse
, 31 January 1920.
18.
Ibid.
19.
Jürgen Schebera:
Hanns Eisler
, Schott 1998, p. 182.
20.
The Sacred Duck
.
21.
Waldstein 1965, p. 41.
22.
Julius Korngold: ‘Epilog zum Spieljahr’,
Neue Freie Presse
, 1 July 1925.
23.
Josef Reitler: ‘Musik’,
Neue Freie Presse
, 29 April 1929.
24.
Haas and Patka 2004, pp. 37–8.
25.
Hanns Gutman: ‘Gáls
Heilige Ente
in Berlin’,
Anbruch
, 1925, no. 8, p. 467.
26.
Ibid.
27.
Undated photocopy, Hans Gál estate.
28.
Hans Gál: ‘Zum Problem der komischen Oper’,
Anbruch
, 1927 nos 1–2, p. 91.
29.
The Birds
.
30.
Alfred Einstein: ‘Walter Braunfels und
Don Gil von den Grünen Hosen
’,
Anbruch
, 1924, no. 10, pp. 417–22.
31.
Don Gil of the Green Trousers
.
32.
Rich Claus, Poor Claus
.
33.
Letter from Ludwig Strecker to Hans Gál, 19 October 1934 (Gál family collection).
34.
Kim Kowalke: ‘Dancing with the Devil: Publishing Modern Music in the Third Reich’,
Modernism/Modernity
, vol. 8, no. 1 (2001), p. 14.
35.
Letter from Willi Strecker to Erich Korngold, 11 October 1933 (Korngold family collection, Portland, Oregon).
36.
Krenek 1999, p. 902.
37.
Atmospheric Picture, entitled
Early Spring
.
38.
The Miracle of Diana
.
39.
Wellesz 1981, pp. 13–14.
40.
Julius Korngold: ‘Musik: Feste und Jubiläen’,
Neue Freie Presse
, 10 May 1919.
41.
Julius Korngold: ‘Musik’,
Neue Freie Presse
, 14 November 1919.
42.
Julius Korngold 1991, p. 276.
43.
Réti was born in Serbia in 1885 and though he spelled his name ‘Reti’, his 15 published articles in
Anbruch
are under the name ‘Réti’, as are references to him in contemporary accounts. It is the spelling I have maintained.
44.
Haefeli 1982, p. 37.
45.
Wellesz 1981, p. 151.
46.
Clipping found in the Wellesz Archive, Austrian National Library, annotated ‘The Times, London 1934’.
47.
Julius Korngold, ‘Atonale Wirren’,
Neue Freie Presse
, 9 August 1924.
48.
The Austrian Cultural League
.
49.
Haefeli 1982, p. 69.
50.
Festliches Präludium
Op. 100 for chorus and organ (1966) and
Mirabile Mysterium
Op. 101 for two sopranos, two baritones, speaking chorus and orchestra (1967).
51.
BBC Third Programme, Hans Gál, interval talk: ‘What is Music’, BBC Third Programme, 4 March 1971, Jüdisches Museum exhibition Audio Guide no. 571.
52.
Unidentified interview reprinted in
Hans Gál Newsletter
, July 2010.
53.
Wellesz 1981, p. 165.
54.
Pranks, Intrigue and Revenge
.
55.
The Bacchantes
.
56.
Vagadus's Downfall Through Vanity
.
57.
Julius Korngold: ‘Die Bakchantinnen von Egon Wellesz’,
Neue Freie Presse
, 21 June 1931.
58.
Ibid.
59.
Ibid.
60.
Julius Korngold: ‘Wozzeck: Oper nach Georg Büchner von Alban Berg’,
Neue Freie Presse
, 1 April 1930.
61.
Krenek 1999, p. 1087.
Chapter 9. The Resolute Romantics
1.
Klemperer 1998, p. 111.
2.
Ludwig Stein: ‘Der Rassenimperialismus Chamberlains’,
Neue Freie Presse
, 29 January, 19 February, and 12 March 1905.
3.
Ibid., 29 January 1905.
4.
Ibid.
5.
Ibid.
6.
Ibid.
7.
Ibid.
8.
Ibid.
9.
Ibid.
10.
Ibid.
11.
Ibid.
12.
Ibid.
13.
Ibid.
14.
Music in the World Crisis.
15.
Weißmann 1922, p. 232.
16.
Ibid., pp. 232–3.
17.
Ibid., p. 243.
18.
Ibid, p. 244.
19.
Ibid., p. 245.
20.
Ibid., pp. 104–6.
21.
Julius Korngold: ‘Die Musik in der Weltkrise’,
Neue Freie Presse
, 25 August 1922.
22.
Ibid.
23.
Wilhelm Altmann: ‘Opern Statistik’,
Anbruch
, 1928 nos 9–10, pp. 424–34.
24.
Hans Heinsheimer: ‘Der geheime Terror’,
Anbruch
, 1931, no. 1, pp. 1–4.
25.
Ibid.
26.
Schwanda the Bagpiper
.
27.
Wilhelm Altmann: ‘Opernstatistik’,
An-
bruch,
1930, nos 9–10, p. 298.
28.
The Silent Serenade
.
29.
Rudolf Réti, letter to Erich Korngold, 1923. Handschriftensammlung, Vienna State Library: no. 942/65-1.
30.
Hanns Eisler:
Die rote Fahne am Montag
(Berlin), vol. 6, no. 15, 10 April 1928, printed in Eisler 1982, vol. 2, pp. 72–3.
31.
Hanns Eisler:
Die Rote Fahne
(Berlin), vol. 10, no. 246, 19 October 1927, printed in Eisler 1982, vol. 2, pp. 35–6.
32.
Korngold 1991, p. 290.
33.
Ibid., p. 281.
34.
‘Konzert des flüsternden Baritons’,
Neue Freie Presse
, 10 November 1928.
35.
Anon.: ‘Aus dem Kunstleben: Jonny spielt auf’,
Deutsch-Österreichische Tageszeitung
, 30 December 1927.
36.
Krenek 1998, p. 901.
37.
Ibid., p. 852.
38.
Korngold 1991, p. 205.
39.
Ibid., p. 287.
40.
Vienna's Bürgertheater, an operetta house in the Third District, is not to be confused with the classical Burg Theater in the First District. The Bürgertheater was torn down in 1960 after unsuccessful attempts to turn it into a postwar Broadway venue.
41.
Carroll 1997, p. 215.
Chapter 10: Between Hell and Purgatory
1.
Berthold Molden: ‘Spinoza zum 300. Geburtstag’,
Neue Freie Presse
, 24 November 1932.
2.
Jakob Fromer: ‘Spinoza (zum 250. Todestag)’,
Neue Freie Presse
, 22 February 1927.
3.
‘Richard Wagner, sein Schicksal und sein Gedanke. Das Verhältnis zur Politik (zum 50. Todestag)’,
Neue Freie Presse
, 12 February 1933.
4.
A. F. Seligmann and Felix Weingartner: ‘Der hundertste Geburtstag von Johannes Brahms’,
Neue Freie Presse
, 7 May 1933.
5.
Gesetz zur Behebung der Not von Volk und Reich.
6.
‘Zwischen Hölle und Fegefeuer’,
Neue Freie Presse
, 31 December 1933.
7.
Ibid.
8.
‘Eine sensationelle Rede Churchills – Der englischer Schatzkantzler über den Faschismus’,
Neue Freie Presse
, 21 January 1927.
9.
‘Mr Churchill on Fascism’,
The Times
, 21 June 1927, p. 14.
10.
My re-translation of a German render-ing of the lost English original text.
11.
Ibid.
12.
‘The Non-Englishness of Mr. Churchill’,
Manchester Guardian
, 22 January 1927.