Leon Botstein / Werner Hanak
Quasi Una Fantasia - Juden und die Musikstadt Wien
Wolke Verlagsges, 2003

ISBN : 3-93600-006-9
Vienna: Jews and the City of Music, 1870-1938
Princeton University Press
ISBN: 1-93149-327-8
Essays by Otto Biba, Philip Bohlmann, Elisabeth Derow-Turnauer and Elena Ostleitner, Wolfgang Dosch and Sara Trampuz, Albrecht Dümling, Tina Frühauf, Primavera Gruber, Hartmut Krones, and Michael P. Steinberg
Musical compilation by Michael Hass
CD 1 Between classicism and modernism (74:06) Universal SPP 980119-3
  1. Gustav MAHLER : Ich bin der Welt abhanden gekommen from "Rückert Lieder"
  2. Carl GOLDMARK : Doch eh' ich in des Todes Tal from the opera "Die Konigin von Saba Op. 27"
  3. Franz SCHREKER : Maskenzug from the opera "Die Gezeichneten"
  4. Erich Wolfgang KORNGOLD : Mein Sehnen, mein Wähnen from the opera "Die Tote Stadt"
  5. Arnold SCHÖNBERG : Du sendest mir einen Liebesblick from "Gurrelieder"
  6. Arnold SCHÖNBERG : Vorgefühle from "Funf Orchesterstucke Op.16"
  7. Alexander von ZEMLINSKY : Lied der Baumwollpacker from Symphonische Gesänge, op.20
  8. Wilhelm GROSZ : Song of the Cotton Pickers from "Afrika-Songs op.29"
  9. Ernst KRENEK : Als ich damals am Strand from the opera "Jonny spielt auf"
  10. Ernst TOCH : Concerto for piano and orchestra no.1 - Rondo disturbato
  11. Max BRAND : Tango from the opera "Maschinist Hopkins"
  12. Egon WELLESZ : Symphony no. 4 op. 70 - Adagio
  13. Hans GÁL : Concerto for violoncello and orchestra op. 67, Allegro moderato
  14. Karl WEIGL : Trost from "5 Lieder op.40" for soprano & string quartet
  15. Julius BÜRGER : Concerto for violoncello and orchestra, 2nd movement
  • Brigitte Fassbaender / Deutsches SO Berln / Chailly 1988/89
  • Veronika Kincses / Chor & orchester Ungarischen Staatsoper / Adam Fischer 1980
  • Pederson / Conell / Rundfunkchoir Berlin / Deutsches SO / Zagrosek 1993/94
  • Goerne / Chor & Symphonieorchester SR / Honeck 2000
  • Dunn / RSO Berlin / Chailly 1985
  • Cleveland Orchestra / von Dohnanyi 1991
  • White / Concertgebouw / Chailly 1993
  • Gardner / Matrix ensemble / Ziegler 1995
  • Marc / Kruse / Leipzig Opernchor & Gewanhausorchester / Zagrosek 1991
  • Crow / NDR SO Hamburg / Bostein 2002
  • Makris / Brinkmann  RSO Wien / Keuscnig 1988
  • RSO Wien / Rabl 2001
  • Welsh / BBC SO / Jenkins 1987
  • Chih-Yih Chan . Akademia quartet 1999
  • Beiser / Deucsches SO / Young 1994
CD 2 Popular positions (72:08) Universal SPP 980025-3
  1. Ralph BENATZKY : Song and march from "Im Weissen Rössl"
  2. Leo FALL : Eine Frau von meinem Rang from "Die Geschidene frau"
  3. Oscar STRAUS : Ich bin eine Frau, die weiss was sie will from the Operette (1932)
  4. Edmund EYSLER : Fein, fein schmeckt uns der Wein from the Operette "Der lachende Ehemann"
  5. Paul ABRAHAM : La bella Tangolita from the Operette "Ball im Savoy"
  6. Emerich KÁLMÁN : Das Wienerlied, so süss und weich from "Die Herzogin von Chicago"

    Viennese artists in Berlin
  7. Hans MAY : Ein Lied geht um die Welt from the film
  8. Mischa SPOLIANSKY : Heute Nacht, oder nie from the film "Das Lied einer Nacht" (1932)
  9. Edmund MEISEL : Sinfonie einer Grossstadt - Acte 3

    Viennese artists in Amerika
  10. Kurt WEILL : Wie lange noch? for voice and piano
  11. Erich Wolfgang KORNGOLD : Love for love from the film "Escape Me Never" (Arr. Bruce Fowler)
  12. Wilhelm GROSZ : Along the Santa Fe Trail from "Hit songs"
  13. Max STEINER : Tara's theme from the film "Gone With the Wind"
  14. Ernest GOLD : Theme from the film "Exodus"

    Viennese songs
  15. Fritz SPIELMANN / Stephan WEISS : Schinkenfleckerln! Lustiges couplet und foxtrot
  16. Hermann LEOPOLDI : Landsleut'
  17. Ludwig HIRSCHFELD : Ich hab' eine Tante in Peking
  18. Gustav PICK : Fiakerlied. Wiener lied from Gustav Pick
  19. Rudolf SIECZYNSKI : Vienna, city of my dreams Op. 1 Wiener lied
  20. Fritz KREISLER : Schön Rosmarin

  21. Epilog

  22. Herbert ZIPPER : Dachau song
  • Max Hansen / Orchester Paul Godwin 1930
  • Maanheim / Wohlbrück / Orchester theater amNollendorf Platz / Korngold 1933
  • Massary / Orchester / Hans Schindler 1932
  • Richard Tauber / Orchester / Enst Hauke 1927
  • Alpar / Orchester / Paul Abraham 1933
  • Wottrich / Rundfunk chor & orchesterBerlin / Bonynge 1998

  • Joseph Schmidt / Orchester / ? 1933
  • Jan Kiepura / Orchester / Otto Dobrindt 1932
  • RIAS Jungendorchester / Mark Andreas 1987

  • Lotte Lenya / Kurt Weill 1943/44
  • Korngold (piano) / Hollywood Bowl / Mauceri 1951/1995
  • Clarey / Matrix Ensemble / Ziegler 1996
  • Cincinnati Pops / Kunzel 1987
  • Cincinnati Pops / Kunzel 1987

  • Spielmann 1936
  • Leopoldi / Orchester / Harry Sandauer 1935
  • Karl Farkas / Walter Hann (piano) 1932
  • Alexander Girardi 1903
  • Richard Tauber / Orchester / Idris Lewis 1935
  • Kreisler / Michael Raucheisen 1930

  • Erich Weinert Ensembles
Leon Botstein, Werner Hanak, Karl Albrecht-Weinberger (eds.)
Vienna. Jews and the City of Music 1870–1938.
Catalogue, Exhibition at the Yeshiva University Museum, New York
Bard College
ISBN : 978-3-936000-12-2
02-06/04 (208 pp.)
Music as the Language of Acculturation and Assimilation Vienna’s musical culture was influenced decisively by Jewish composers, performers, and patrons.
Some, such as Mahler and Schoenberg, would open the gates to modernism, while others, such as Kálmán or Oscar Straus, would fix permanently in our imagination the myth of the city of music as fairy-tale city.
From the City of Music to the “City Without Jews” This exhibition catalogue guides the visitor into Vienna, the city of music.
The essays collected here seek to shed light on the role of the Jewish population and the fin-de-siècle conflict between the avant-garde and the reactionaries and to show that contrary to traditional notions, Jews not always were to be found in the modernist camp.
They also tell of the axis Vienna – Berlin during the interwar years and illuminate the Jewish-Austrian musical symbiosis, which in the end would turn out to have been no more than a dream: quasi una fantasia.
We furthermore document the expulsion and murder of Jewish musicians between 1938 and 1945 and their work in exile. A critical look at Vienna after 1945 concludes the volume.
“With the exhibition comes a magnificent illustrated catalogue, containing two CDs” (Graham G. Norton, The Times, London)

CD 1 Between Classicism and Modernism
Mahler, Goldmark, Schreker, Korngold, Schönberg, Zemlinsky, Grosz, Krenek, Toch, Brand, Wellesz, Gál, Weigl, Bürger
CD 2 Popular Positions
Benatzky, Fall, O. Strauss, Eysler, Abraham, Kálmán, May, Spoliansky, Meisel, Weill, Steiner

This extraordinary exhibition illustrates through sound and story the major contributions that Jews made to Vienna's music and social life-as musicians, teachers, critics, audiences, and patrons---and the devastating effect that anti-semiticism and racism had on Vienna in the late 19th and early 20th centuries. Through piano scores, manuscripts, letters, diary entries, numerous photographs, paintings, and audio recordings, Vienna: Jews and the City of Music, 1870-1938 captures the cadence of Viennese musical life as well as the Nazi's rise to power had on the city of Vienna and the world of music at large.
First on view at the Jewish Museum Vienna, where it was curated by Werner Hanak and designed by Christian Prasser, Vienna: Jews and the City of Music is divided into thematic sections, outlined below. An audio guide provides visitors with a narrative walkthrough of the exhibition, accompanied by an hour of musical footage.

City of Music
The exhibition opens with a model of the Ringstrasse in late 19th century Vienna, the epicenter of this recently cosmopolitan city. Accompanying objects describe the contributions made by Vienna's Jews to musical institutions and the importance of these institutions for the Jewish population.
Music in private
Alongside the public institutions, there was a network of music salons in Vienna. The salon, in a private home, served as a semi-public, semi-private arena. It was both a social meeting place and a venue for learning about, listening to, and playing music. The exhibition recreates the atmosphere of the salon, complete with furnishings.
The Modernist Era and its Audience
In 1897, Gustav Mahler became director of the Vienna Court Opera; his reign marks a milestone in the history of modern music. The exhibition describes the modernist composers' struggle for an audience and the public's overwhelming rejection of modern music.
Operetta or the Art of Fictionalizing the City of Music in Song
"Of the Viennese operetta composers, e.g. Straus, Kalman, Fall, Granichstaedten, Eisler, ...only Lehár and I are Christian. Of the librettists there are none that I know. Similarly there are very few non-Jews among the actors and singers, not to mention directors"> (Ralph Benatzky, diary 1928). Jewish composers and librettists fictionalized the city of music in countless operettas and songs about Vienna. Included in this section are a 1910 stage photo that recalls the prevailing conviction of the Jews of Vienna that they were an integral part of the city of music, and a 1923 anti-Semitic magazine cartoon.
From City of Music to City of Music. Vienna and Berlin, 1918-1938
To understand the history of Vienna as a city of music between the wars, it is useful to look at the music scene in Berlin at the time. In the 1920s, Berlin also became a meeting place for Viennese classical musicians. The key figure there was Franz Schreker from Vienna, the most successful opera composer of the time. As director of the Musikhochschule in Berlin, he attracted many young musicians such as Max Brand and Ernst Krenek from Vienna. His desk in Berlin, on view in this section of the exhibition, recalls his importance. After the Nazis came to power in 1933, Jewish musicians in Berlin were no longer able to perform in public. In Vienna, they were able to continue working unharmed until 1938.
Expulsion from Vienna? Expulsion from Paradise?
On the walls are the names of musicians who were born in Vienna or studied or worked there, as well as some of the people who worked behind the scenes for the City of Music. They are only a fraction of the Jewish people who were involved in and helped to shape the music scene in Vienna. These names and their professions show the extent to which the Nazis wiped out musical life in Vienna. The audio guide features extracts from the works of some of the names on the list. The chairs in this section, which visitors are invited to sit in, are reproductions of those designed in 1942 for Peggy Guggenheim by Austrian architect Friedrich Kiesler, while in exile in America.
Exile and Concentration Camps - itineraries and works
Where did the musicians end up after they fled from Vienna? Were they able to continue their musical careers? The exhibition recalls the many individuals who were forced to leave the city of music: composers, pianists, violinists, and record sellers. Objects and pictures tell of their exile and their musical activities, as well as those people who were not able to flee Austria in time and who used music to try to survive in the concentration camps.
Aryanization - Vienna from 1938 to 1945
This section takes visitors back to Vienna in the years 1938 to 1945 through paper: files, letters, and posters. A report card from the Academy of Music from the year 1941 praises a student's "good participation" and the fact that he" doesn't look Jewish> " . The following year there was no record of this student in the archive. A copy of the 1941 register of marriages from the parish of St. Stephan shows how the Nazis tried to turn Johann Strauss into a pure German cultural icon by expunging details of Strauss' Jewish great-grandfather.
Vienna After 1945 - The City of Music, A City Without Jews?
The City of Music, where once around 200,000 Jews lived, became a "city without Jews." This situation did not significantly change after the "rebirth" of Austria in May 1945. The Austrian government did not invite the exiles to return to their former home, and prevented or delayed lawsuits on former aryanisation cases, denying for a long time Austria's share of responsibility in the Third Reich and the persecution of Jews. This section is dedicated to the attempts of some musicians to return to Austria. Only a few of them succeeded. Conductors, such as Karl Böhm and Herbert von Karajan, who rose to prominence under the Nazis, dominated the music scene for decades. Given these facts, it is astonishing that twenty years after the Holocaust, Leonard Bernstein became an absolute favorite of the Viennese audience!
An illustrated scholarly English-language catalogue, edited by Leon Botstein and Werner Hanak, accompanies the exhibition. The catalogue features essays by Otto Biba, Philip Bohlmann, Elisabeth Derow-Turnauer and Elena Ostleitner, Wolfgang Dosch and Sara Trampuz, Albrecht Dümling, Tina Frühauf, Primavera Gruber, Hartmut Krones, and Michael P. Steinberg. Michael Hass has compiled two CDs to accompany the catalogue that include recordings of Lotte Lenya singing two songs by her husband, Kurt Weill, and Richard Tauber's 1935 recording of "Vienna, City of My Dreams."
Yeshiva University Museum at the Center for Jewish History
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New York, NY 10011
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