Forbidden Music
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39. ‘Concerte’, Neue Freie Presse, 24 January 1882.
40. ‘Musik’, Neue Freie Presse, 20 February 1883.
41. ‘J. Offenbach’, Neue Freie Presse, 10 Oct-ober 1880.
42. Goldmark: Erinnerungen (Berlin: Direct-media), p. 55.
43. Hanslick: Aus meinem Leben (Berlin: Directmedia), pp. 181–2).
44. Goldmark: Erinnerungen (Berlin: Direct-media), pp. 84–8).
45. Ibid., p. 88.
46. Rustic Wedding Symphony.
47. The Queen of Sheba.
48. ‘Die Königin von Saba’, Neue Freie Presse, 13 March 1875.
49. ‘Merlin’, Neue Freie Presse, 21 November 1886.
50. ‘Von Johannes Brahms’ letzten Tagen’, Neue Freie Presse, 4 April 1897.
51. Julius Korngold: ‘Internationales Kam-mermusikfest in Venedig II’, Neue Freie Presse, 29 September 1925.
52. Korngold 1991, p. 33.
Chapter 4. Mahler and His Chronicler Julius Korngold
1. Jüdisches Museum Wien: ‘Continental Britons: Hans Gál and Egon Wellesz’, Audio guide nos 703–4.
2. Adolf Weissmann: Der Dirigent im 20. Jahrhundert (Berlin, 1925), as quoted by Julius Korngold in Neue Freie Presse, 19 December 1925.
3. Arnold Schoenberg Center Vienna, Digi-tal Archive: Gustav Mahler, T60_10_A.
4. Arnold Schoenberg Center Vienna, Digital Archive: Gustav Mahler ist tot, T60_03.
5. Alma Mahler: Tagebuch-Suiten 1898–1902, ed. Anthony Beaumont (Frank-furt: Fischer, 1997), p. 639; other journals of the day included Gretl Gallia's as quoted in Bonyhady 2011, p. 178.
6. Bonyhady 2011, p. 118.
7. Haber 2009, pp. 11–15,
8. Ibid., pp. 24–7.
9. Ibid., p. 31.
10. Stourzh 1989, pp. 239–58.
11. Korngold 1991, p. 78.
12. The Final Days of Mankind.
13. The Torch.
14. Die Fackel, 30 May 1913.
15. Die Fackel, No. 5, May 1899.
16. David Lloyd George published articles in the Neue Freie Presse on 3 January 1914, 14 September 1918, and 2 December 1918.
17. Winston Churchill published an article in the Neue Freie Presse on 5 October 1917.
18. Korngold 1991, p. 275.
19. Alexander Moszkowski: ‘Feuilleton, Ein Genie’, Neue Freie Presse, 12 February 1892.
20. Song of Zion.
21. Leon Botstein: Exhibition Catalogue Quasi una fantasia: Vienna Jews and the City of Music 1870–1938, Bard College, Annandale-on-Hudson, and Wolke Verlag, 2004, p. 43
22. Scope, Methodology und Purpose of Musicology.
23. Monuments of Austrian Composition.
24. Theodor Haase: ‘Antisemitismus: Kleine Studien’, Neue Freie Presse, 6, 7 and 8 April 1887.
25. Anatole France: ‘Über den Anti-semitismus’, Neue Freie Presse, 3 April 1904.
26. Malte Fischer 2000, pp. 134–5.
27. Taruskin uses the term ‘Maximalist’ to define works such as Arnold Schoenberg's Gurrelieder and Mahler's Symphony of a Thousand. See Taruskin 2010, vol. 5, p. 5.
28. Korngold: ‘Orchester und Kammer-konzerte’, Neue Freie Presse, 6 May 1914.
29. Letter from Erich Wolfgang Korngold to Arnold Rosé, 3 January 1918 (Inter-nationale Gustav Mahler Gesellschaft, 20–7).
30. Letter from Gustav Mahler to Julius Korngold, 12 June 1908 (Internationale Gustav Mahler Gesellschaft, 1/113).
31. Korngold 1991, p. 123.
32. Korngold: ‘Gustav Mahler’, Neue Freie Presse, 4 June 1907.
33. Korngold 1991, p. 115.
34. Richard Robert: ‘Der Fall Korngold’, Wiener Sonn- und Montags-Zeitung, 11 May 1914.
35. Korngold: ‘Musik’, Neue Freie Presse, 8 January 1907.
36. Korngold: ‘Musik’, Neue Freie Presse, 17 December 1904.
37. Ibid.
38. Arendt 2007, p. 64.
39. Malte Fischer 2000, p. 156.
40. Taruskin 2010, vol. 5, p. 6.
Chapter 5. The Jugendstil School of Schoenberg, Schreker, Zemlinsky and Weigl
1. Zuckerkandl 1970, p. 97.
2. Johnston 1972, p. 71.
3. Hilmar 1974, pp. 20–36.
4. Anon,: ‘Fin de siècle’, Neue Freie Presse, 5 June 1890.
5. Franz Servaes: ‘Decadence Romane’, Neue Freie Presse, 17 August 1899.
6. Anon.: ‘Fin de siècle’, Neue Freie Presse, 30 December 1900.
7. Max Burckhard: ‘Der Begriff des Modernen in der Kunst’, Neue Freie Presse, 19 and 20 November 1900.
8. Max Nordau: ‘Socialistische Kunst’, Neue Freie Presse, 3 March 1896.
9. Alfred Freiherr von Berger: ‘Wahnsinn auf der Bühne’, Neue Freie Presse, 31 December 1906.
10. Hugo Ganz: ‘Kranke Kunst’, Neue Freie Presse, 21 April 1900.
11. Zuckerkandl 1908, p. 47.
12. Escape into Mediocrity.
13. Graf 1983, p. 374.
14. Wittgenstein Tractatus, Proposition 7.
15. Wellesz 1981, p. 40.
16. ‘Musik der Gegenwart, Eine Flug-blätterfolge no. 1: von neuer Musik aus Arnold Schoenberg Harmonielehre’, Musikblätter des Anbruch, issue1-2, 1922, p. 2.
17. Ibid.
18. Botstein 1991, p.129,
19. Bartók was one of the non-Jewish composers who shared Schoenberg's highly developed sense of ethical and artistic ideals.
20. BBC Interview: Deryck Cooke and Egon Wellesz, 1962; ‘Continental Britons’ exhibition, Jüdisches Museum Wien: Audio guide, no. 723.
21. Wellesz 1985, pp. 32–5.
22. Wellesz 1981, p. 96.
23. Hanns Eisler: speech at International Congress of Composers and Music Critics in Prague, May 1948. Eisler 1982, vol. 2, pp. 17–18.
24. Hans Eisler: Aufbau, v (1949), vol. 11, pp. 1035–6.
25. Jürgen Schebera: Hanns Eisler (Mainz: Schott, 1998), p. 25
26. ‘Schoenberg: der Musikalische Reak-tionär’, Document, Arnold Schoenberg Center.
27. Society of Creative Musicians.
28. Once Upon a Time.
29. Korngold 1991, p. 123.
30. ‘Musik aus neuer und neuster Zeit’, Neue Freie Presse, 4 January 1901.
31. ‘Neue Orchester- und Liedmusik’, Neue Freie Presse, 3 February 1905.
32. Ibid.
33. Ibid.
34. Ibid.
35. ‘Festaufführungen Wiener Musik’, Neue Freie Presse, 5 June 1920.
36. ‘Neue Orchester- und Liedmusik’.
37. Ibid.
38. Neue Freie Presse, 12 July 1910.
39. Neue Freie Presse, 28 April 1917.
40. Neue Freie Presse, 25 November 1923.
41. Neue Freie Presse, 29 November 1910.
42. Ibid.
43. ‘Festaufführungen Wiener Musik’.
44. Arnold Schoenberg to Rudolf Ganz, 1 June 1938, subsequently paraphrased by Weigl in a brochure of composer recommendations.
45. Krenek 1999, p. 140.
46. ‘Hofoperntheater’, Neue Freie Presse, 18 March 1913.
47. The Birthday of the Infanta.
48. Wellesz 1981, p. 63.
49. In fact, Berg's reduction proved too difficult, so a simplified version by Ferdinand Rebay was commissioned by Universal Edition.
50. Wellesz 1981, p. 63
51. Ibid.
52. The Branded.
53. Hailey 1993, p. 298.
54. Adorno 1986, vol. 16, Quasi una fantasia, p. 265.
55. Ibid: Vergegenwärtigungen, p. 368.
Chapter 6. A Musical Migration
1. Hamann 1997, p. 398.
2. Neue Freie Presse, 21 July 1914.
3. Die Fackel, 10 July 1914, p. 2.
4. Neue Freie Presse, 25 May 1915.
5. Guido Adler: ‘Weltkrieg und Musik’, Neue Freie Presse, 2 July 1917.
6. Ibid.
7. ‘Wo ist Österreich’, Neue Freie Presse, 3 September 1918.
8. ‘Die Verkündigung des Anschlusses an
die deutsche Republik’, Neue Freie Presse, 13 November 1918.
9. ‘Angebliche Verhinderung des Anschlus-seszwischen Deutschösterreich und Deutschland’, Neue Freie Presse, 16 March 1919.
10. Zweig 1970, p. 324.
11. Ibid., p. 136.
12. Anton Kuh: Luftlinien. Feuilletons, Essays und Publizistik, ed. Ruth Greuner (Vienna: Löcker, 1981), p. 191.
13. The Word.
14. Raoul Auernheimer: ‘Expressionistische Bewegung’, Neue Freie Presse, 4 July 1918.
15. Ibid.
16. Ibid.
17. Ibid.
18. Ibid.
19. James Simon: ‘Expressionismus in der Musik’, Musikblätter des Anbruch, June 1920, pp. 408–11.
20. Letter from Kandinsky to Schoenberg, 18 January 1911.
21. Stuckenschmidt 1964, p. 35.
22. The Singing Devil.
23. St Cecilia or the Power of Music.
24. Hailey 1993, p. 249, and Haas and Hailey 2004, p.104.
25. Hailey 1993, p. 247.
26. The Blacksmith of Ghent.
27. Unknown World.
28. The Magnificent Cuckold.
29. Julius Korngold: ‘Novitäten’, Neue Freie Presse, 10 April 1924.
30. Murder, the Hope of Women.
31. Krenek 1998, p. 1015.
32. Ibid.
33. Ibid., pp. 941.
34. Anbruch, 1931, no. 1, contents (unpaginated).
35. Walter Braunfels, Berthold Gold-schmidt and Hans Krása in Anbruch, 1931, nos 6–7, pp. 145–6.
36. Alois Hába in Anbruch, 1931, no. 4, p. 91.
37. Paul Stefan in Anbruch, 1931, nos 8–9, p. 208.
38. Anbruch, 1931, no. 1, p. 16.
39. Anbruch, 1931, nos 2–3, p. 52.
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.