#: locale=de

## Aktion

### URL
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### Tooltip
HotspotPanoramaOverlayArea_32883D02_A1B8_BED4_41C2_0C340EF8C6F9.toolTip = ABOUT EXILARTE
HotspotPanoramaOverlayArea_81BB73B5_A49D_4261_41D2_A63F0878CB74.toolTip = ABOUT EXILARTE
HotspotPanoramaOverlayArea_6406D05B_7539_A51B_41C4_BBACEFCB643F.toolTip = ABOUT EXILARTE
HotspotPanoramaOverlayArea_804E73FF_A49D_C1E1_41C6_E6E986ED405C.toolTip = ABOUT EXILARTE
HotspotPanoramaOverlayArea_876794C5_9A9A_9F5B_41E0_3DC4F348FFD3.toolTip = ALEXANDER ZEMLINSKY
HotspotPanoramaOverlayArea_BC077681_9AEA_FBDB_41BF_109E48E1FFC1.toolTip = ALEXANDER ZEMLINSKY (DE)
HotspotPanoramaOverlayArea_B833A79B_9A96_99EF_41C2_E84C8BD790B7.toolTip = ALEXANDER ZEMLINSKY (EN)
HotspotPanoramaOverlayArea_8C2EA046_9996_9759_41C0_795B05AF7B6D.toolTip = ALMA ROSÉ
HotspotPanoramaOverlayArea_8A60E609_99AA_9AEB_41DA_7D11B275A5E2.toolTip = ALMA ROSÉ (DE)
HotspotPanoramaOverlayArea_8A695684_99AB_9BD9_4187_F8D6D3416D82.toolTip = ALMA ROSÉ (EN)
HotspotPanoramaOverlayArea_83DBFE28_9AB7_8B29_41DE_F47344E836E5.toolTip = ANDRÉ ASRIEL
HotspotPanoramaOverlayArea_875A534F_9AAE_9967_41D3_89371F96D673.toolTip = ANDRÉ ASRIEL (DE)
HotspotPanoramaOverlayArea_86DC5E0C_9AAF_8AE9_41E0_00A1F0A62C05.toolTip = ANDRÉ ASRIEL (EN)
HotspotPanoramaOverlayArea_95AEB8F7_0F67_2088_4177_C24A16181803.toolTip = ANSCHLUSS
HotspotPanoramaOverlayArea_5A830F21_9DB5_2E38_41D3_A88FEF45D974.toolTip = ANSCHLUSS
HotspotPanoramaOverlayArea_E8E2D707_9FF5_3FF8_41C5_B9F5E7B7732F.toolTip = ANSCHLUSS
HotspotPanoramaOverlayArea_B825F081_9A96_B7DB_41D6_BB90714B56F3.toolTip = ARNOLD SCHÖNBERG
HotspotPanoramaOverlayArea_B9442F00_9AEE_8AD9_41C1_5E076304FF43.toolTip = ARNOLD SCHÖNBERG (DE)
HotspotPanoramaOverlayArea_BAB26202_9AEE_BAD9_41D5_84BB4F80B6A1.toolTip = ARNOLD SCHÖNBERG (EN)
HotspotPanoramaOverlayArea_BE7E60C6_9A96_B759_41DB_B8B8AA381012.toolTip = ARTUR SCHNABEL
HotspotPanoramaOverlayArea_B43AE577_9AA9_9927_41E0_6A4252991834.toolTip = ARTUR SCHNABEL (DE)
HotspotPanoramaOverlayArea_BF0DFEE5_9A9F_8B5B_41AF_8DE0ACA6A8DF.toolTip = ARTUR SCHNABEL (EN)
HotspotPanoramaOverlayArea_CCAAB398_999F_99E9_41E2_25F7479DBAEB.toolTip = AUSGANG | EXIT
HotspotPanoramaOverlayArea_D7714F81_99F6_89DB_41E3_27BD5A62A166.toolTip = AUSGANG | EXIT
HotspotPanoramaOverlayArea_1E75F906_0AE9_8C47_4191_20AD5D27EC98.toolTip = AUSGANGSPUNKT
HotspotPanoramaOverlayArea_19340C00_0AEA_843B_418E_598B3C184B80.toolTip = AUSGANGSPUNKT
HotspotPanoramaOverlayArea_01B6CCD6_9EDD_F218_41D1_D2125011B951.toolTip = Anschluss
HotspotPanoramaOverlayArea_1035E891_644E_9692_41D7_C589560E73A1.toolTip = Anschluss
HotspotPanoramaOverlayArea_E20DCA0F_9E96_8AE7_41DE_534B53DA656C.toolTip = Anschluss – Korrespondenzen
HotspotPanoramaOverlayArea_49478346_A2DD_1678_41E0_DDD180AF4731.toolTip = Anschluss – Korrespondenzen
HotspotPanoramaOverlayArea_1FBB2E1F_0A27_8445_41A0_A554E79604E3.toolTip = BIOGRAPHIEN
HotspotPanoramaOverlayArea_19F3A1F3_0A1F_9FDD_4183_82474B0E7761.toolTip = BIOGRAPHIEN
HotspotPanoramaOverlayArea_1BF9F711_0A2B_845D_41A3_A67EC8DB774C.toolTip = BIOGRAPHIEN
HotspotPanoramaOverlayArea_19046A08_0A29_8C4B_4197_5369B6F8ACE8.toolTip = BIOGRAPHIEN
HotspotPanoramaOverlayArea_1B7326CD_0A7E_85C5_417C_3C4CC81F6ECE.toolTip = BIOGRAPHIEN
HotspotPanoramaOverlayArea_1E7B0AA9_0A26_8C4D_41A1_709745227D65.toolTip = BIOGRAPHIEN
HotspotPanoramaOverlayArea_19E269E7_0A1E_8FC5_418A_A05D392640DC.toolTip = BIOGRAPHIEN
HotspotPanoramaOverlayArea_16145BD7_2922_11FD_4192_6A985571B515.toolTip = BRICHT | KAUDER | STÖHR
HotspotPanoramaOverlayArea_3AEB24D6_EF73_4A99_41B5_A22025B0EC2E.toolTip = BRICHT | KAUDER | STÖHR
HotspotPanoramaOverlayArea_B8A53582_0EBB_6088_41A8_00B62BDA6427.toolTip = BRICHT | KAUDER | STÖHR
HotspotPanoramaOverlayArea_BF6928A1_0EAD_E088_4197_544C58208113.toolTip = BRICHT | KAUDER | STÖHR
HotspotPanoramaOverlayArea_55F542F2_9DCB_1618_41D3_263DBB26E9D7.toolTip = BRICHT | KAUDER | STÖHR
HotspotPanoramaOverlayArea_5702DD65_59AE_EC79_41CA_D87D706AEFBE.toolTip = BRICHT | KAUDER | STÖHR
HotspotPanoramaOverlayArea_9F9A6157_16D0_246D_41A0_9F13ABD7BD6E.toolTip = Brandeis Music Camp
HotspotPanoramaOverlayArea_743CB8A4_6C3F_F6B2_41D5_770320FD45CE.toolTip = Brandeis Music Camp
HotspotPanoramaOverlayArea_67C598A6_796B_7517_4192_9A65827D981B.toolTip = Brandeis Music Camp
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HotspotPanoramaOverlayArea_B28E8E26_9A69_8AD9_41DD_16E32D683CBA.toolTip = CARL FLESCH
HotspotPanoramaOverlayArea_B4F66280_9B99_FBD9_417E_282FEA38E860.toolTip = CARL FLESCH (DE)
HotspotPanoramaOverlayArea_B29763C4_9B9E_9959_41E0_ED223AF2B28C.toolTip = CARL FLESCH (EN)
HotspotPanoramaOverlayArea_8E7448C2_9A96_9759_41D9_87255D2C1980.toolTip = CHARLOTTE EISLER (GEB. DEMANT) 
HotspotPanoramaOverlayArea_8091187B_9A96_B72F_41E0_FDFB65CCF2E4.toolTip = CHARLOTTE EISLER (GEB. DEMANT) (DE)
HotspotPanoramaOverlayArea_8E70A9A5_9A97_89DB_41C1_CF1FE395F363.toolTip = CHARLOTTE EISLER (GEB. DEMANT) (EN)
HotspotPanoramaOverlayArea_3DC63E5C_013A_CCB7_414B_1A8C8C259C14.toolTip = CINEMA ENTRANCE
HotspotPanoramaOverlayArea_5E820FA5_3FE7_DA19_41A5_7D40FA19C545.toolTip = CINEMA ENTRANCE
HotspotPanoramaOverlayArea_C83334F9_99E9_9F2B_4198_68F522D9A4F1.toolTip = Café Tegetthoff
HotspotPanoramaOverlayArea_310ED4CC_7978_BD1B_41D3_A05DB2540895.toolTip = Café Tegetthoff
HotspotPanoramaOverlayArea_D4882862_585A_D47B_41AD_C3C97FDD7473.toolTip = Café Tegetthoff
HotspotPanoramaOverlayArea_524789E1_6446_96B2_41D7_44E4C9349C89.toolTip = Café und Kindheit
HotspotPanoramaOverlayArea_313634CA_7978_BD1F_41AD_1A3E278730D3.toolTip = Café und Kindheit
HotspotPanoramaOverlayArea_38362908_F5B9_C595_41E3_6B86FFB48A4D.toolTip = Café und Kindheit
HotspotPanoramaOverlayArea_BB455EA6_0EA4_E088_413B_9BD8C77456AC.toolTip = Café und Kindheit
HotspotPanoramaOverlayArea_D102FCF6_99F9_8F39_41E1_462B616B66DB.toolTip = Café und Kindheit
HotspotPanoramaOverlayArea_E338711B_9EBA_96EF_41E3_2F15D985D93C.toolTip = Café und Kindheit
HotspotPanoramaOverlayArea_C0A12E42_0309_4C93_417E_F4310F1B2377.toolTip = Café und Kindheit
HotspotPanoramaOverlayArea_06980939_09FE_8C4D_4171_FB7077402F6C.toolTip = DAUERAUSSTELLUNG
HotspotPanoramaOverlayArea_1A4ADAE5_0A1E_8DC5_419C_A2DF663C7B60.toolTip = DAUERAUSSTELLUNG
HotspotPanoramaOverlayArea_642A29CA_4519_36DB_41C6_D102E2707C27.toolTip = DAVID GRÜNSCHLAG
HotspotPanoramaOverlayArea_645810A6_4509_354B_41D0_2E87566F3306.toolTip = DAVID GRÜNSCHLAG (DE)
HotspotPanoramaOverlayArea_67C70654_4517_3DCF_41C6_FEF41390D3FE.toolTip = DAVID GRÜNSCHLAG (EN)
HotspotPanoramaOverlayArea_6EF837F1_3820_586B_41A9_BFF0B85AC40B.toolTip = DETAIL
HotspotMapOverlayArea_1CE169EB_3A7D_D2BF_41CA_50C05B0EA814.toolTip = Dauerausstellung Endpunkt \
Permanent Exhibition Turning Point
HotspotPanoramaOverlayArea_A9C12215_0E9F_2388_4190_89638D4E2745.toolTip = EBRAICO
HotspotPanoramaOverlayArea_EFEAC3FF_644F_9A8E_41D4_6B52BC9F6DF4.toolTip = EBRAICO
HotspotPanoramaOverlayArea_67CA58A8_796B_751B_41DD_E1C8A318B206.toolTip = EBRAICO
HotspotPanoramaOverlayArea_7059C034_6479_9592_417F_6781F5A4831E.toolTip = EBRAICO
HotspotPanoramaOverlayArea_8161200C_9AB9_B6EA_41DD_B44FA309605B.toolTip = EDMUND EYSLER
HotspotPanoramaOverlayArea_85A1E924_9AB9_96D9_41DD_D192A92F9050.toolTip = EDMUND EYSLER (DE)
HotspotPanoramaOverlayArea_820E7F86_9ABA_89D9_41B1_3B9119F7979D.toolTip = EDMUND EYSLER (EN)
HotspotPanoramaOverlayArea_A83A3FCF_9BBE_8967_41D7_054E615C9C08.toolTip = EDUARD STEUERMANN
HotspotPanoramaOverlayArea_AA122012_9BB6_96F9_41D6_F1C23E34D822.toolTip = EDUARD STEUERMANN (DE)
HotspotPanoramaOverlayArea_ABFA1A12_9BA9_8AF9_41E2_0B3B1BD55E9B.toolTip = EDUARD STEUERMANN (EN)
HotspotPanoramaOverlayArea_A46CDA5D_3BE0_685B_41C0_C7332D1C9869.toolTip = EGON LUSTGARTEN
HotspotPanoramaOverlayArea_0155FD85_9EF5_F2F8_41B1_29B399FCBE0D.toolTip = EGON LUSTGARTEN
HotspotPanoramaOverlayArea_9B7D9244_3BE1_DBA9_41C8_C1A46D204F5E.toolTip = EGON LUSTGARTEN Vitrine
HotspotPanoramaOverlayArea_9BB898D6_3BE0_28A9_41B9_39BA720F0D49.toolTip = EGON LUSTGARTEN Vitrine
HotspotPanoramaOverlayArea_07718734_9EF7_1E18_41D8_A06BF4DBE860.toolTip = EGON LUSTGARTEN Vitrine
HotspotPanoramaOverlayArea_9B3A99C7_3BE1_E8B7_41BE_45E6F8EBCE0B.toolTip = EGON LUSTGARTEN Vitrine
HotspotPanoramaOverlayArea_56BFE25E_43F9_35FB_41B8_D2417901F777.toolTip = EGON WELLESZ 
HotspotPanoramaOverlayArea_553DE9B3_43F9_D749_4199_A610677C1500.toolTip = EGON WELLESZ (DE)
HotspotPanoramaOverlayArea_55711244_43F9_F5CF_41CE_F63290511D1E.toolTip = EGON WELLESZ (EN)
HotspotPanoramaOverlayArea_CA0BE74A_99E9_9969_41E2_924CB8938279.toolTip = EINFÜHRUNG | INTRODUCTION
HotspotMapOverlayArea_73B6B3A4_64CB_FAB2_41D0_FB4E24BC37D6.toolTip = EINFÜHRUNG | INTRODUCTION
HotspotPanoramaOverlayArea_56E6314B_1A86_DE31_4190_A438B184620F.toolTip = EINFÜHRUNG | INTRODUCTION
HotspotPanoramaOverlayArea_F3EF1D2B_99AE_892F_41C3_CECEC2F972CC.toolTip = EINFÜHRUNG | INTRODUCTION
HotspotPanoramaOverlayArea_07635865_09E6_8CC5_4184_185BE79C896F.toolTip = EINGANG SONDERAUSSTELLUNG
HotspotPanoramaOverlayArea_310EE4CC_7978_BD1B_41DE_5DB054CCCF2C.toolTip = EINGANG | ENTRANCE
HotspotPanoramaOverlayArea_D84E94B5_ED51_4A9B_41DA_1C3F0B701BC1.toolTip = EINLEITUNG | INTRODUCTION
HotspotPanoramaOverlayArea_CE46C0C9_F2B8_C497_41B8_CFDF81DCF5FD.toolTip = EINLEITUNG | INTRODUCTION
HotspotPanoramaOverlayArea_B443B0F1_9B99_973B_41E2_B78E1C1B06E4.toolTip = EMANUEL FEUERMANN
HotspotPanoramaOverlayArea_A9BE51EC_9BAB_B929_41C4_5F2B0587C949.toolTip = EMANUEL FEUERMANN (DE)
HotspotPanoramaOverlayArea_B4F9E421_9BAA_9EDB_4192_438FD0465030.toolTip = EMANUEL FEUERMANN (EN)
HotspotPanoramaOverlayArea_B7D21044_9BAA_9759_41D1_38518169701E.toolTip = ERICH LEINSDORF
HotspotPanoramaOverlayArea_B6DA7225_9BAE_9ADB_41DC_96AB2AAD5191.toolTip = ERICH LEINSDORF (DE)
HotspotPanoramaOverlayArea_B6D470F7_9BA9_9727_41E2_902FF0D24283.toolTip = ERICH LEINSDORF (EN)
HotspotPanoramaOverlayArea_884F90D8_99EF_9769_41D8_CE4110D4A435.toolTip = ERICH ZEISL
HotspotPanoramaOverlayArea_50124899_43F7_3579_41B4_6CD0811C296D.toolTip = ERICH ZEISL (DE)
HotspotPanoramaOverlayArea_97E62774_99EE_F939_41E1_6D3C987720C6.toolTip = ERICH ZEISL (EN)
HotspotPanoramaOverlayArea_0DA34911_9F4D_7218_41D8_D41A848F0E09.toolTip = ERICH ZEISL Collage
HotspotPanoramaOverlayArea_3B4E781C_EF73_F989_41E0_4FF346C8BA85.toolTip = ERICH ZEISL GEMÄLDE
HotspotPanoramaOverlayArea_10CA0935_296E_7EBD_41B7_BA5A601D95EF.toolTip = ERICH ZEISL Gemälde
HotspotPanoramaOverlayArea_84BC227B_9AAE_9B2F_41D6_CD74D96A35AE.toolTip = ERNST KRENEK
HotspotPanoramaOverlayArea_B90E452D_9A9B_B92B_41E0_0739A17204DB.toolTip = ERNST KRENEK (DE)
HotspotPanoramaOverlayArea_87DDDFD9_9A9A_896B_41C7_E56CA826BA32.toolTip = ERNST KRENEK (EN)
HotspotPanoramaOverlayArea_BD47673A_9AEA_9929_41D0_DFA24243B212.toolTip = ERNST TOCH
HotspotPanoramaOverlayArea_B18C071F_9A9A_9AE7_41DA_FC56EF91C037.toolTip = ERNST TOCH (DE)
HotspotPanoramaOverlayArea_BE51EF0A_9A99_8AE9_418D_73B146D14709.toolTip = ERNST TOCH (EN)
HotspotPanoramaOverlayArea_67614DA4_450A_CF4F_41CF_D9AF4ABBA880.toolTip = ERWIN WEISS
HotspotPanoramaOverlayArea_580A2AD0_457B_4AC7_41BD_D0E1AF374CCA.toolTip = ERWIN WEISS (DE)
HotspotPanoramaOverlayArea_6688835B_450B_5BF9_41C6_0FC6FCABE51C.toolTip = ERWIN WEISS (EN)
HotspotMapOverlayArea_73B141E0_64C6_96B2_41DB_DF87A654CC9C.toolTip = Egon und Emmy Wellesz Flügel
HotspotPanoramaOverlayArea_4F9BCB4E_9DD7_F608_41C1_FC7527402650.toolTip = Erfolge als Komponist
HotspotPanoramaOverlayArea_A4684522_9ECB_1238_41A0_7910503D090D.toolTip = Erich Zeisl Gemälde
HotspotPanoramaOverlayArea_B1D1779E_9A99_B9E9_41D1_6F834A189A9E.toolTip = FRANZ SCHREKER
HotspotPanoramaOverlayArea_B10D5CB3_9A69_8F3F_41B1_D6433105FF0C.toolTip = FRANZ SCHREKER (DE)
HotspotPanoramaOverlayArea_B1122A44_9A6A_8B59_41C0_93F52A1DBA28.toolTip = FRANZ SCHREKER (EN)
HotspotPanoramaOverlayArea_6B623B84_644A_EB72_41A3_BACCDB58B5FA.toolTip = FREISTADTL | BILD
HotspotPanoramaOverlayArea_9A62EF38_16D0_3C23_41A7_08EED0E782FA.toolTip = FREISTADTL | BILD
HotspotPanoramaOverlayArea_534C6006_42F9_354B_41BA_15F9D831EB56.toolTip = FRITZ KREISLER
HotspotPanoramaOverlayArea_4CB2B46D_42F9_7DD9_41C2_3D6548B3F16B.toolTip = FRITZ KREISLER (DE)
HotspotPanoramaOverlayArea_53EB4419_42F9_FD79_41B6_7F0333DDA337.toolTip = FRITZ KREISLER (EN)
HotspotPanoramaOverlayArea_825CB6EE_9ABB_FB29_41D3_22B4B2EBE502.toolTip = FRITZ SPIELMANN
HotspotPanoramaOverlayArea_8573DEBA_9AAA_8B29_41DA_48A97C46518E.toolTip = FRITZ SPIELMANN (DE)
HotspotPanoramaOverlayArea_83ECFD1E_9AB6_8EE9_41CF_B858B0E80790.toolTip = FRITZ SPIELMANN (EN)
HotspotPanoramaOverlayArea_8D0075B0_9A69_9939_41CF_C58544AADAAC.toolTip = FRITZ STIEDRY
HotspotPanoramaOverlayArea_8FE3E9EF_9A6B_8927_41AA_A7852E76D58E.toolTip = FRITZ STIEDRY (DE)
HotspotPanoramaOverlayArea_8E7A7A6E_9A6A_8B29_41D2_A71D9EBA211E.toolTip = FRITZ STIEDRY (EN)
HotspotPanoramaOverlayArea_1A6D6176_9EBE_B939_41C9_7FE7A781D78A.toolTip = Frühe Erfolge als Komponist
HotspotPanoramaOverlayArea_6B637D56_3575_44E1_41A7_0CD6980F8896.toolTip = Frühe Erfolge als Komponist
HotspotPanoramaOverlayArea_6E0E0F21_2962_3255_41C4_F9CDEC2F4EEA.toolTip = Frühe Erfolge als Komponist
HotspotPanoramaOverlayArea_DB0B5B4F_58D6_B449_41B5_713E6F06D9D1.toolTip = Frühe Erfolge als Komponist
HotspotPanoramaOverlayArea_63510E42_2DAF_4EA7_415E_5C7742A35648.toolTip = Frühe Erfolge in Wien
HotspotPanoramaOverlayArea_D0C5C0FD_586F_B449_41B3_584F9DFBBD3C.toolTip = Frühe Erfolge in Wien
HotspotPanoramaOverlayArea_E3ED05CB_5BFF_7C49_41D3_A970FCF23DE9.toolTip = Frühe Erfolge in Wien
HotspotPanoramaOverlayArea_6AAB5660_64DA_BDB2_41B1_7ED20AD74008.toolTip = Frühe Erfolge in Wien
HotspotPanoramaOverlayArea_6A2F468D_3820_D8BB_41B3_798053B0E6F7.toolTip = GANZES BILD
HotspotPanoramaOverlayArea_8A9392B3_9997_9B3F_41C9_651A101BD225.toolTip = GEORG TINTNER
HotspotPanoramaOverlayArea_8A42C793_999E_99FF_41D0_F21E1B456098.toolTip = GEORG TINTNER (DE)
HotspotPanoramaOverlayArea_8C8D4C81_9996_8FDB_41BB_82E23DD7860A.toolTip = GEORG TINTNER (EN)
HotspotPanoramaOverlayArea_59CA3C5C_4509_4DFF_41B4_6C25F01C2899.toolTip = GEORGE SZELL
HotspotPanoramaOverlayArea_5AE4C266_457F_F5CB_41C0_2F1D4E4859F9.toolTip = GEORGE SZELL (DE)
HotspotPanoramaOverlayArea_59A02C0E_450B_4D5B_41C4_8DECF69B3129.toolTip = GEORGE SZELL (EN)
HotspotMapOverlayArea_B68932A6_3AFD_56A9_41BC_905E37B65921.toolTip = GRUNDISS SCHLIESSEN \
CLOSE FLOORPLAN
HotspotPanoramaOverlayArea_BFBC6920_9A9E_B6D9_41C3_E7051475C5BA.toolTip = GUIDO ADLER
HotspotPanoramaOverlayArea_B37BB972_9A96_8939_41C4_10B3C2D6B140.toolTip = GUIDO ADLER (DE)
HotspotPanoramaOverlayArea_B0E6A3B1_9AAB_993B_41BF_4F808AB3E613.toolTip = GUIDO ADLER (EN)
HotspotPanoramaOverlayArea_5D8EA0C2_457B_56CB_41C1_64F9CACDDE6E.toolTip = GUILLERMO GRAETZER
HotspotPanoramaOverlayArea_5990E3B7_4577_3B49_41CE_CFB0C9C80C71.toolTip = GUILLERMO GRAETZER (DE)
HotspotPanoramaOverlayArea_670106D1_4509_DAC9_41CF_79CDAB8BDB65.toolTip = GUILLERMO GRAETZER (EN)
HotspotPanoramaOverlayArea_B0EB152A_9AAA_9929_41DB_F9522AEF4593.toolTip = GUSTAV MAHLER
HotspotPanoramaOverlayArea_B32A2F49_9A9B_896B_41DC_94EA6FD1BAEE.toolTip = GUSTAV MAHLER (DE)
HotspotPanoramaOverlayArea_B1C27D8E_9A9A_89E9_41D5_AD99EDC7F869.toolTip = GUSTAV MAHLER (EN)
HotspotPanoramaOverlayArea_A85BEDA4_9BB9_89D9_41B6_1EA003F01945.toolTip = HANNS EISLER
HotspotPanoramaOverlayArea_AD1F0F08_9BB6_8AE9_41D6_E7942C4FDE0F.toolTip = HANNS EISLER (DE)
HotspotPanoramaOverlayArea_A855D6CC_9BBE_7B69_41C8_087A5089FD2B.toolTip = HANNS EISLER (EN)
HotspotPanoramaOverlayArea_B7266A03_9BA9_8ADF_41D7_DE6FCF86CEE5.toolTip = HANS KELLER
HotspotPanoramaOverlayArea_A8D2D3D7_9BAE_B967_41D5_A8D5B390B49E.toolTip = HANS KELLER (DE)
HotspotPanoramaOverlayArea_B7C7F197_9BA9_99E7_41E3_158F9E5C5112.toolTip = HANS KELLER (EN)
HotspotPanoramaOverlayArea_DE4B9436_9F4B_3218_41C1_B9F448BF3EDA.toolTip = HANS WINTERBERG
HotspotPanoramaOverlayArea_A1B9F49D_9EBD_1208_4192_0B11EA988728.toolTip = HANS WINTERBERG (DE)
HotspotPanoramaOverlayArea_4271D32D_370D_7CA3_41CA_3088B7284C74.toolTip = HANS WINTERBERG (DE)
HotspotPanoramaOverlayArea_4357E9BE_370E_CFA1_41AF_499BA74491BF.toolTip = HANS WINTERBERG (DE)
HotspotPanoramaOverlayArea_A243EDA5_9EBD_1238_41E3_A454E61C515F.toolTip = HANS WINTERBERG (EN)
HotspotPanoramaOverlayArea_A5B1D47F_9EBD_1208_41D7_47F495A42937.toolTip = HANS WINTERBERG Vitrine
HotspotPanoramaOverlayArea_701C7837_63FF_759E_41D8_85A92513D51E.toolTip = HEBRAICO
HotspotPanoramaOverlayArea_80B8D8FC_9A69_B729_41B1_40C9BDBD7F6C.toolTip = HEINRICH JALOWETZ
HotspotPanoramaOverlayArea_8E18F1AE_9A6E_7929_41D4_2A082DA5518A.toolTip = HEINRICH JALOWETZ (DE)
HotspotPanoramaOverlayArea_8E2A2FAC_9A6F_8929_41E1_5F49F1842472.toolTip = HEINRICH JALOWETZ (EN)
HotspotPanoramaOverlayArea_865B8DDA_9A99_8969_41BC_47D837CA5D2A.toolTip = HEINRICH SCHENKER
HotspotPanoramaOverlayArea_BAC04602_9A9A_BAD9_41DE_79DF5EF54D4E.toolTip = HEINRICH SCHENKER (DE)
HotspotPanoramaOverlayArea_87409A1F_9A9B_8AE7_41CD_CDF2894148A6.toolTip = HEINRICH SCHENKER (EN)
HotspotPanoramaOverlayArea_BC8CACE8_9AF6_8F29_41C7_5E8D2A515FF7.toolTip = HERBERT ZIPPER
HotspotPanoramaOverlayArea_BF7D5F47_9AEE_8967_41CB_1A72DCE1F441.toolTip = HERBERT ZIPPER (DE)
HotspotPanoramaOverlayArea_BD993BE6_9AE9_8959_41E2_EC2A447EBBCC.toolTip = HERBERT ZIPPER (EN)
HotspotPanoramaOverlayArea_2824DCA5_6439_6EB2_41CB_6FE8F5B5E825.toolTip = HILDE SPIEL
HotspotPanoramaOverlayArea_6B623B83_644A_EB76_41C0_0144046F5B91.toolTip = HOLLYWOOD
HotspotPanoramaOverlayArea_85BA47E0_0116_DB8F_412F_5C435929C800.toolTip = HOLLYWOOD Dokumente
HotspotPanoramaOverlayArea_ABCC8135_0E9D_2188_4199_D8D329E514C1.toolTip = HOLLYWOOD Dokumente
HotspotMapOverlayArea_73B91755_64C6_BB92_41D7_BE09FE51B939.toolTip = Hollywood
HotspotPanoramaOverlayArea_3BD049BB_9ED5_3208_41E2_577AFF313A78.toolTip = Hollywood Dokumente
HotspotPanoramaOverlayArea_AAA5D55A_0F65_61B8_41A7_71370052E879.toolTip = Hollywood Dokumente
HotspotPanoramaOverlayArea_A8E8F3D1_9ED7_F618_41E1_C1F14C29656F.toolTip = JAN URBAN
HotspotPanoramaOverlayArea_5AC444CA_370B_45E1_41C0_BE7920192B5A.toolTip = JAN URBAN (DE)
HotspotPanoramaOverlayArea_B77594E6_9DBB_1238_41E2_DBCBD7B44B9E.toolTip = JAN URBAN (DE)
HotspotPanoramaOverlayArea_5AB0D71E_370B_C461_41C6_6B9997664D66.toolTip = JAN URBAN (DE)
HotspotPanoramaOverlayArea_BBAFE310_9DBB_7618_41DE_760B11350E27.toolTip = JAN URBAN (EN)
HotspotPanoramaOverlayArea_BBA7BC8F_9DDB_3208_41C6_9141AD1396FD.toolTip = JAN URBAN Vitrine
HotspotPanoramaOverlayArea_BDB7C63A_9AEA_BB29_41D1_35A12BA7CE78.toolTip = JOSEF KRIPS
HotspotPanoramaOverlayArea_B1A106B6_9A97_BB39_41D3_6D54681BB810.toolTip = JOSEF KRIPS (DE)
HotspotPanoramaOverlayArea_BD40282E_9AEB_B729_41DD_7F68B41AD2B0.toolTip = JOSEF KRIPS (EN)
HotspotPanoramaOverlayArea_89ED763C_99AA_FB29_41DC_9B2077092260.toolTip = JOSEPH BEER
HotspotPanoramaOverlayArea_8BB2F0E3_99A9_B75F_41CB_07C9EC02544E.toolTip = JOSEPH BEER (DE)
HotspotPanoramaOverlayArea_89D44B9D_99A9_89EB_4173_2B8E3AA142AB.toolTip = JOSEPH BEER (EN)
HotspotPanoramaOverlayArea_6576298F_4516_F759_41B2_70FF217AFC3A.toolTip = JOSEPH ROSENSTOCK
HotspotPanoramaOverlayArea_625E3F5D_451B_4BF9_41C1_4B420165B7EF.toolTip = JOSEPH ROSENSTOCK (DE)
HotspotPanoramaOverlayArea_64E23EDD_4519_4AF9_41C5_C84403E24C97.toolTip = JOSEPH ROSENSTOCK (EN)
HotspotPanoramaOverlayArea_BB37D2FA_9DCD_1608_41CE_07B254A3E33C.toolTip = JULIUS BÜRGER (DE)
HotspotPanoramaOverlayArea_BB9C6C08_9DCE_F208_41D0_4D3DA8745F79.toolTip = JULIUS BÜRGER Vitrine
HotspotPanoramaOverlayArea_80F6812E_9A9A_7929_41D2_13CD55D7BEF6.toolTip = KARL WEIGL
HotspotPanoramaOverlayArea_819C84E4_9AAB_9F59_41D0_E20774B8FB29.toolTip = KARL WEIGL (DE)
HotspotPanoramaOverlayArea_810A4190_9AAA_99F9_41E0_C4660BF4D153.toolTip = KARL WEIGL (EN)
HotspotPanoramaOverlayArea_54CFBC3D_4309_4DB9_41CC_23BDA9CB5FA0.toolTip = KAROL RATHAUS 
HotspotPanoramaOverlayArea_54564433_43F6_FD49_41AD_4B9A4C9123C1.toolTip = KAROL RATHAUS (DE)
HotspotPanoramaOverlayArea_5445EA24_43F6_D54F_4194_192E88AA79D0.toolTip = KAROL RATHAUS (EN)
HotspotPanoramaOverlayArea_77B3F359_A2B5_1608_41E3_8C1F0A14AE82.toolTip = KOLISCH | GALIMIR | CHAJA
HotspotPanoramaOverlayArea_9C387472_2EA3_5367_41BA_9150ADB0C670.toolTip = KOLISCH | GALIMIR | CHAJES
HotspotPanoramaOverlayArea_859A59E9_2EA5_5565_41B1_E595FE90A25E.toolTip = KOLISCH | GALIMIR | CHAJES
HotspotPanoramaOverlayArea_BDF93626_FD8E_701B_41D8_B4AF93F9C9C8.toolTip = KOLISCH | GALIMIR | CHAJES
HotspotPanoramaOverlayArea_21C556C9_9DBD_1E08_41A6_77E0E8A66119.toolTip = KOLISCH | GALIMIR | CHAJES
HotspotPanoramaOverlayArea_93F269C7_0F6D_2088_4191_AE2695EBD1F2.toolTip = KOLISCH | GALIMIR | CHAJES
HotspotPanoramaOverlayArea_3A6DEE4D_5B02_0398_41AD_3DB3672E09D7.toolTip = KOLISCH | GALIMIR | CHAJES
HotspotPanoramaOverlayArea_771465FF_3CE6_49E9_41AD_4BABCE36F0A7.toolTip = KORNGIOLD | KRENEK | ARLEN
HotspotPanoramaOverlayArea_6A89E0CF_64D9_968E_41D4_16FA06EDC4D4.toolTip = KORNGOLD | KRENEK | ARLEN
HotspotPanoramaOverlayArea_D80D1ABE_F249_C4ED_41E9_C55D684F3B26.toolTip = KORNGOLD | KRENEK | ARLEN
HotspotPanoramaOverlayArea_002E18C7_9EDF_3278_41DD_E96B06EAA8FF.toolTip = KORNGOLD | KRENEK | ARLEN
HotspotPanoramaOverlayArea_D273FCDA_9F5B_1208_41E3_B4DF8776F2B4.toolTip = KORNGOLD | KRENEK | ARLEN
HotspotPanoramaOverlayArea_90C3C381_0F67_2088_4196_0A30ACA4485D.toolTip = KORNGOLD | KRENEK | ARLEN
HotspotMapOverlayArea_7230E2DE_3AA7_D699_41A0_DAE8546011EB.toolTip = Kolisch | Glaimir | Chajes
HotspotPanoramaOverlayArea_3E563DBA_0D65_20F8_4176_3BB065087A8E.toolTip = Komm süßer Tod
HotspotPanoramaOverlayArea_CE842A1A_9999_8AE9_41E1_A2B6E5C2476B.toolTip = Komm süßer Tod
HotspotPanoramaOverlayArea_76966750_0F65_2188_4195_1EEA0975462A.toolTip = Komm süßer Tod
HotspotPanoramaOverlayArea_310974CE_7978_BD17_41BD_3038CE0CF834.toolTip = Komm süßer Tod
HotspotMapOverlayArea_6EDF01AA_3ABE_D2B9_41CC_F2D38CF8068B.toolTip = Korngold | Krenek | Arlen
HotspotPanoramaOverlayArea_76EE7181_0F65_2088_41AB_E41875562C05.toolTip = Kreis um HILDE SPIEL
HotspotPanoramaOverlayArea_8EA094BB_999B_FF2F_41B8_CBA9120099A8.toolTip = MARCEL RUBIN
HotspotPanoramaOverlayArea_82BAE7B0_9A9E_9939_41D5_88DD8975CD93.toolTip = MARCEL RUBIN (DE)
HotspotPanoramaOverlayArea_8F201435_9A9A_9F3B_41D3_1265061883D2.toolTip = MARCEL RUBIN (EN)
HotspotPanoramaOverlayArea_B2618289_9B9F_9BEB_41B3_9D2E2A551BD1.toolTip = MAX BRAND
HotspotPanoramaOverlayArea_B7C8D99E_9B9A_89E9_41C3_F876E61ABDBD.toolTip = MAX BRAND (DE)
HotspotPanoramaOverlayArea_B5497A37_9B9B_8B27_4193_9E0313A8E1A9.toolTip = MAX BRAND (EN)
HotspotPanoramaOverlayArea_1848DCCA_0A2B_85CF_4193_B18F72ED4EAB.toolTip = MEDIEN TERMINAL
HotspotPanoramaOverlayArea_1BB3BC7F_0A7E_84C5_41A3_7BE9D04B1518.toolTip = MEDIEN TERMINAL
HotspotPanoramaOverlayArea_5ABFCA5B_48D6_D449_41BC_FBDBB7C7DE1B.toolTip = NEW YORK
HotspotPanoramaOverlayArea_EEF8BB30_EF51_3F99_41DA_BD35937C06BF.toolTip = PARIS
HotspotPanoramaOverlayArea_BCCC7E73_9AEA_8B3F_41DE_68672C52C6EF.toolTip = PAUL AMADEUS PISK
HotspotPanoramaOverlayArea_BE628EA4_9AE9_8BD9_41E1_C30B3F260307.toolTip = PAUL AMADEUS PISK (DE)
HotspotPanoramaOverlayArea_BCC8A3E6_9AF7_F959_41D8_F4A807CFA53B.toolTip = PAUL AMADEUS PISK (EN)
HotspotPanoramaOverlayArea_1EB8978A_0A2A_844F_4180_A50EE3499531.toolTip = PUBLIKATIONEN
HotspotPanoramaOverlayArea_1812937A_0AFB_9CCF_4199_F73B39382CE4.toolTip = PUBLIKATIONEN
HotspotPanoramaOverlayArea_1AFB8FCE_0A29_83C7_417F_3FBD65452529.toolTip = PUBLIKATIONEN
HotspotPanoramaOverlayArea_18017432_0A1B_845F_41A0_47B65DD3012A.toolTip = PUBLIKATIONEN
HotspotPanoramaOverlayArea_1B7B8EEB_0A1B_85CD_418B_DD74E8BBE2FE.toolTip = PUBLIKATIONEN
HotspotPanoramaOverlayArea_1FAD9223_0A26_9C7D_418A_77FE75395490.toolTip = PUBLIKATIONEN
HotspotPanoramaOverlayArea_4020E9DA_554D_56D8_41D1_B3D89F7BDFEF.toolTip = PUBLIKATIONEN
HotspotPanoramaOverlayArea_1EA2110A_0AFA_9C4F_418D_AE1ED7BC9216.toolTip = PUBLIKATIONEN
HotspotPanoramaOverlayArea_0C9829D8_9EDB_7208_41DD_5A2BAD4468DD.toolTip = RICHARD FUCHS (DE)
HotspotPanoramaOverlayArea_B591F2E5_9B9A_9B5B_41D8_2FC6C3EE21E3.toolTip = RICHARD STÖHR
HotspotPanoramaOverlayArea_B6D79DB7_9B97_8927_41DD_1C36C73DA087.toolTip = RICHARD STÖHR (DE)
HotspotPanoramaOverlayArea_B416081E_9B96_F6E9_41CB_F94C94134C05.toolTip = RICHARD STÖHR (EN)
HotspotPanoramaOverlayArea_2907A602_9D4B_11F8_41C2_2FF6133F396C.toolTip = ROBERT FREISTADTL 
HotspotPanoramaOverlayArea_2DD5948C_9D4D_7208_41CC_649AF8C7D7A5.toolTip = ROBERT FREISTADTL  Vitrine
HotspotPanoramaOverlayArea_2C060C62_9D57_1238_41DD_FFEE2FAC97B8.toolTip = ROBERT FREISTADTL (DE)
HotspotPanoramaOverlayArea_327568F0_9D55_1218_41E0_C255D6CFAF3F.toolTip = ROBERT FREISTADTL (EN)
HotspotPanoramaOverlayArea_BB5EB1CE_3BE0_38B9_41B3_971A03B1BBE9.toolTip = ROBERT FREISTADTL (EN)
HotspotPanoramaOverlayArea_88F6F17D_99EA_B92B_41CB_59893835D0B2.toolTip = ROBERT FÜRSTENTHAL
HotspotPanoramaOverlayArea_50ABDE45_430B_CDC9_41C2_B04568F9E191.toolTip = ROBERT FÜRSTENTHAL (DE)
HotspotPanoramaOverlayArea_50430702_430B_5B4B_41AF_9EFEE3321CFA.toolTip = ROBERT FÜRSTENTHAL (EN)
HotspotPanoramaOverlayArea_BFD579A9_3BE0_28FB_41B5_59E55F882214.toolTip = Robert Freistadtl (Frey) Audio Terminal
HotspotPanoramaOverlayArea_7F8DE72B_A2B5_1E08_41D1_C0B66A52F15E.toolTip = SCHÖNBERG TERMINAL
HotspotPanoramaOverlayArea_F31D3A9E_99AF_8BE9_41D7_A015687DF364.toolTip = SCHÖNBERG TERMINAL
HotspotPanoramaOverlayArea_5AA0C257_EECF_4987_41E5_3F3A08EE73BA.toolTip = SCHÖNBERG TERMINAL
HotspotPanoramaOverlayArea_B3F289F1_0EBB_2088_4190_17521977A647.toolTip = SCHÖNBERG TERMINAL
HotspotPanoramaOverlayArea_1C316DE3_6447_AEB6_4182_031A78E49F5B.toolTip = SCHÖNBERG | EISLER | KIEPURA-EGGERTH
HotspotPanoramaOverlayArea_458B0D68_9D7D_1208_41E1_CDE1DE9F1F45.toolTip = SCHÖNBERG | EISLER | KIEPURA-EGGERTH
HotspotPanoramaOverlayArea_71C305F1_644A_9E92_41D5_D780807BDC13.toolTip = SCHÖNBERG | EISLER | KIEPURA-EGGERTH
HotspotPanoramaOverlayArea_6B623B81_644A_EB72_41D6_D8D8D76B0F52.toolTip = SCHÖNBERG | EISLER | KIEPURA-EGGERTH
HotspotPanoramaOverlayArea_CD9F32F3_5D02_0088_41D5_9D6C4E7BD426.toolTip = SCHÖNBERG | EISLER | KIEPURA-EGGERTH
HotspotPanoramaOverlayArea_6A91B8E1_FF9A_3019_41EF_3AAA1F19EB75.toolTip = SCHÖNBERG | KRENEK | KIEPURA-EGGERTH
HotspotMapOverlayArea_73B3E7C2_64C9_9AF6_41D4_05906BAC4FA7.toolTip = START PERMANENT & SPECIAL EXHIBITIONS
HotspotPanoramaOverlayArea_6626A8D5_450F_F6C9_4192_FCDEDF558FA0.toolTip = STEFAN SHKENASE
HotspotPanoramaOverlayArea_5BEEB89D_4579_3579_4187_FB8816562122.toolTip = STEFAN SHKENASE (DE)
HotspotPanoramaOverlayArea_584D8C95_4576_CD49_41A1_D99E7868EE7C.toolTip = STEFAN SHKENASE (EN)
HotspotMapOverlayArea_5F586EC4_3AA6_CEE9_41C3_BF55ED23E904.toolTip = Schönberg | Eisler | Kiepura-Eggerth
HotspotPanoramaOverlayArea_71B57B3F_64C9_6B8E_41C4_751A06535A4C.toolTip = Slightly Dangerous
HotspotPanoramaOverlayArea_3975E092_293E_0E77_41B8_4E7B45A0C890.toolTip = Slightly Dangerous
HotspotPanoramaOverlayArea_2B7AF07F_9EB7_F208_41BA_F9BD86E68F45.toolTip = Slightly Dangerous
HotspotPanoramaOverlayArea_1BD3A5C2_6459_9EF6_41CE_01811C8ED6D5.toolTip = Slightly Dangerous
HotspotPanoramaOverlayArea_BD66EE9C_0EAB_20B8_41A5_8CEB641E33FC.toolTip = THAT WE MAY LIVE Dokumente
HotspotPanoramaOverlayArea_0245B244_9ECD_1678_41C9_D971BA73ED80.toolTip = THEO BUCHWALD
HotspotPanoramaOverlayArea_04130413_9EDD_1218_41E0_1271938E107C.toolTip = THEO BUCHWALD (DE)
HotspotPanoramaOverlayArea_0C826C03_9ED5_31F8_41DE_7B15D465F420.toolTip = THEO BUCHWALD Vitrine
HotspotPanoramaOverlayArea_54698733_3820_39EF_41C5_A55D4041B3DD.toolTip = That We May Live
HotspotPanoramaOverlayArea_EFE373FE_644F_9A8E_41B4_5F4A0BE2E5D2.toolTip = That We May Live Dokumente
HotspotPanoramaOverlayArea_B593F216_031B_74B3_417D_602E71A8681B.toolTip = That We May Live Dokumente
HotspotPanoramaOverlayArea_7674B8C7_011B_5591_417C_160737009064.toolTip = That we may live
HotspotMapOverlayArea_73B5146D_64CE_BDB2_41C5_38CC71527D05.toolTip = That we may live
HotspotPanoramaOverlayArea_67CDA8AA_796B_751F_41D5_BAE3F59B0315.toolTip = That we may live
HotspotPanoramaOverlayArea_00E00C27_3AF8_2EAD_419F_DC2C2A3AAD97.toolTip = That we may live
HotspotPanoramaOverlayArea_701F7CDD_63F9_6E92_41CD_54EBF4B5D187.toolTip = That we may live Dokumente
HotspotPanoramaOverlayArea_8F355215_9A9A_7AFB_41C2_8B0707FFE4C7.toolTip = VALLY WEIGL
HotspotPanoramaOverlayArea_825B7A96_9A9B_8BF9_41E0_7744DA5E51CC.toolTip = VALLY WEIGL (DE)
HotspotPanoramaOverlayArea_80CA0F59_9A9A_896B_41DC_602EBF3B14C6.toolTip = VALLY WEIGL (EN)
HotspotPanoramaOverlayArea_82F37AC5_9AB7_8B5B_41A0_39EDA2A7186E.toolTip = VICTOR LÉON
HotspotPanoramaOverlayArea_84EA4331_9ABF_F93B_41DE_E5A6F11A3AB0.toolTip = VICTOR LÉON (DE)
HotspotPanoramaOverlayArea_829229A5_9ABE_89DB_41B4_1DABA682F730.toolTip = VICTOR LÉON (EN)
HotspotMapOverlayArea_73B4E1AF_64CF_968E_41DB_CDEA3BDDCACC.toolTip = Video Terminal
HotspotPanoramaOverlayArea_8B536F1E_99AB_8AE9_41DD_2C11DA9F973D.toolTip = WALTER ARLEN
HotspotPanoramaOverlayArea_88A5803F_999B_B727_41D8_CB4A9811412B.toolTip = WALTER ARLEN (DE)
HotspotPanoramaOverlayArea_88BA6519_999A_9EEB_41C9_DEC24CDA686A.toolTip = WALTER ARLEN (EN)
HotspotPanoramaOverlayArea_0EC2C709_9F4F_3E08_41E3_AC04409CF810.toolTip = WORKS IN EXILE
HotspotPanoramaOverlayArea_54037792_5B02_0088_41CC_059D483181C9.toolTip = ZEISL CDs und Publikationen
HotspotPanoramaOverlayArea_78C04CC9_3820_68BB_41B0_F99B97A2EC7F.toolTip = ZEISL CDs und Publikationen
HotspotPanoramaOverlayArea_7059C035_6479_9592_41C2_E23C0BBA5086.toolTip = ZEISL CDs und Publikationen
HotspotPanoramaOverlayArea_67CA58A7_796B_7515_41B8_55D2C6B963BF.toolTip = ZEISL CDs und Publikationen
HotspotPanoramaOverlayArea_5493D892_3820_28A9_418A_E2421FBDA5E6.toolTip = ZEISL CDs und Publikationen
HotspotPanoramaOverlayArea_11DA8B27_EFD1_5F87_41D4_56FB4CBBC309.toolTip = ZEISL COLLAGE
HotspotPanoramaOverlayArea_05D7D5AF_0A27_8445_4199_888E3FE9C003.toolTip = ZEISL COLLAGE
HotspotPanoramaOverlayArea_420965F1_2EA2_BD65_41C1_05F28BAAA13A.toolTip = ZEISL COLLAGE
HotspotPanoramaOverlayArea_D71B3DE2_99FB_8959_41E2_A7B597E34AD8.toolTip = ZEISL COLLAGE
HotspotPanoramaOverlayArea_249912AC_2926_1253_41A7_59360DC4CB21.toolTip = ZEISL COLLAGE
HotspotPanoramaOverlayArea_EF10F691_EED1_369B_41ED_284E7738B498.toolTip = ZEISL Collage
HotspotPanoramaOverlayArea_713CE432_643F_9D96_41BB_492431353EF1.toolTip = ZEISL Gemälde
HotspotMapOverlayArea_5E3C4D66_3AAD_53A9_41C1_15FD5E1220D6.toolTip = Zeisl CDs und Publikationen
HotspotPanoramaOverlayArea_003A5AD3_9ED7_3618_41DA_4C239E765B68.toolTip = Zeisl CDs und Publikationen
HotspotPanoramaOverlayArea_C38809D5_9999_897B_41D1_AF62ADDE2095.toolTip = Zeisl Collage
HotspotMapOverlayArea_011106C5_3A62_DEEB_418D_8E5DE9482293.toolTip = Zeisl Gemälde
HotspotPanoramaOverlayArea_10D6D7F0_645F_7A92_4193_6EA28755BEA9.toolTip = Zeisl in NEW YORK
HotspotPanoramaOverlayArea_6E44C993_010A_D7B1_4143_8661EE2CA3E6.toolTip = Zeisl in NEW YORK
HotspotPanoramaOverlayArea_9F184A3D_0F67_23F8_4183_B8BC5E154621.toolTip = Zeisl in NEW YORK
HotspotPanoramaOverlayArea_60B2F2FE_3FDA_4BEB_41BE_623A53B923EB.toolTip = Zeisl in New York
HotspotPanoramaOverlayArea_E038C39C_9F5B_1608_41E2_F2AEC1C49BD2.toolTip = Zeisl in PARIS
HotspotPanoramaOverlayArea_6B623B85_644A_EB72_41C8_013047BF33FB.toolTip = Zeisl in PARIS
HotspotPanoramaOverlayArea_6B175F19_65CA_AB92_4170_9A48146A571A.toolTip = Zeisls  Kreise HILDE SPIEL
HotspotPanoramaOverlayArea_D930E321_F279_C597_41ED_D306501E89B9.toolTip = Zeisls Kreise – HILDE SPIEL
HotspotPanoramaOverlayArea_CBE8E966_031A_F493_417D_3D7C7E30EE86.toolTip = Zeisls Kreise – HILDE SPIEL
HotspotPanoramaOverlayArea_6B66CF0E_644B_AB8E_41B5_28E4EF652DBC.toolTip = Zeisls Kreise – HILDE SPIEL
HotspotPanoramaOverlayArea_D4ABAAE2_9F5B_1638_41DA_DF79327E90F8.toolTip = Zeisls Kreise – HILDE SPIEL
HotspotPanoramaOverlayArea_CAE5D502_031F_7C93_4171_117FD2CB2B14.toolTip = Zeisls Kreise – JUNGE KUNST
HotspotPanoramaOverlayArea_DB9B95E4_F247_CC9D_41DD_F5E9664B7C38.toolTip = Zeisls Kreise – JUNGE KUNST
HotspotPanoramaOverlayArea_37408F4F_5B0E_0198_41CC_8E8B5CF8328E.toolTip = Zeisls Kreise – „Junge Kunst“
HotspotPanoramaOverlayArea_5FE2554C_FF8A_302F_41ED_9E9F1CAA9729.toolTip = Zitate SPIEL ZEISL Korrespondenz
HotspotPanoramaOverlayArea_55FCC789_5B02_0098_41D2_E2C7D28F0A79.toolTip = Zitate SPIEL ZEISL Korrespondenz
HotspotPanoramaOverlayArea_67CDE8A9_796B_751D_4194_C328572AEE96.toolTip = Zitate SPIEL ZEISL Korrespondenz
HotspotPanoramaOverlayArea_701F7CDE_63F9_6E8E_41D6_E8568D948BB4.toolTip = Zitate SPIEL ZEISL Korrespondenz

## Media

### Audio
audiores_9C80BDF9_A4B5_C1E1_41C0_68F84313C4A4.mp3Url = media/audio_22E1D030_A069_A734_41C9_323EB8EC41C6_de.mp3
audiores_9C8EE0E3_A4B5_3FE1_41C3_97CA901FCECD.mp3Url = media/audio_2371603B_A198_A734_41C7_ACC55566AF9A_de.mp3
audiores_9C828AF0_A4B5_C3FF_41AE_A91C64067933.mp3Url = media/audio_246525A8_A098_69D4_41D3_E692237091EC_de.mp3
audiores_9C803CEB_A4B5_C7E1_41B3_92420A5A019A.mp3Url = media/audio_24F7D007_A068_66DC_41DE_DFF02696EE41_de.mp3
audiores_9C8D2378_A4B5_42EF_41E3_5D29F244A956.mp3Url = media/audio_26128218_A198_AAF4_41DC_5064639769EB_de.mp3
audiores_9C8FEFA2_A4B5_C263_41E2_A607C268F5EB.mp3Url = media/audio_26E33674_A068_AB3C_41B4_719C276B0185_de.mp3
audiores_9C8E52BE_A4B5_4263_41B7_8525C6995ECC.mp3Url = media/audio_289B3319_A198_AAF4_41E1_ED2F6141E8B5_de.mp3
audiores_9C8B8533_A4B5_4661_41AE_1FD7BF29AC64.mp3Url = media/audio_28E8C33D_A1A8_692C_41B7_B4EC39A9056D_de.mp3
audiores_9C8CC453_A4B5_4621_41E2_74AADF3EA44D.mp3Url = media/audio_29229A9F_A198_9BEC_41D3_7A481EF8F11D_de.mp3
audiores_9C8B65FC_A4B5_41E7_41D6_2AB6769DAD77.mp3Url = media/audio_2BF695CE_A1AB_A96C_41BB_91C38873A521_de.mp3
audiores_9C8AAA6A_A4B5_42E3_41E2_FE3C7FEF7600.mp3Url = media/audio_2C456358_A1A8_6974_41D8_EC036DCB458A_de.mp3
audiores_9C8B1090_A4B5_5E3F_41C4_EC1B3A379A23.mp3Url = media/audio_3101E64F_A1B9_EB6C_41E2_2C68D9485908_de.mp3
audiores_9C8AA36B_A4B5_42E1_41D9_E82C40C31BC1.mp3Url = media/audio_34501DC2_A1B8_7954_41C8_D3B94E5750FE_de.mp3
audiores_9C8A5435_A4B5_4661_41D1_DE818FD9EC0C.mp3Url = media/audio_35DA5036_A1B8_A73C_41B4_FB7D3976ED64_de.mp3
audiores_E3D37D0B_A49D_4621_41A7_F8F16B01FEC3.mp3Url = media/audio_983CEB22_A4F7_4263_41E3_825AE181E511_de.mp3
audiores_E3A12387_A49D_4221_41D1_98D0C770C409.mp3Url = media/audio_993B390D_A4F7_CE21_41AD_FE6A5F10D0E0_de.mp3
audiores_E213FDE2_A49D_C1E3_41B5_DEEA7BF9B302.mp3Url = media/audio_9970AC66_A4F7_C6E3_41C6_11C7F91A2409_de.mp3
audiores_E3DD4A30_A49D_427F_41D9_16C62ACBB202.mp3Url = media/audio_9A7184C2_A4F4_C623_41DD_F9DB74785E04_de.mp3
audiores_E36B6F3E_A49D_4263_41D4_D69BD4FB1357.mp3Url = media/audio_9B48AD53_A48B_4621_41D0_674AFD510045_de.mp3
audiores_E3CC731F_A49D_4221_41B6_AD76F29DA74E.mp3Url = media/audio_9B87F177_A4F7_3EE1_41C5_08D614855D72_de.mp3
audiores_C2CED939_A0A8_9934_41E0_FF7865C08188.mp3Url = media/audio_A64CF479_9F98_AF34_41E3_D02829720557_de.mp3
audiores_C2C0B878_A0A8_A734_41DC_D5B38C665F12.mp3Url = media/audio_ABFD84C3_9FA8_AF54_41CA_E2C1A8AE9656_de.mp3
audiores_C2C473EF_A0A8_A92C_41D3_22CC0E56BC3D.mp3Url = media/audio_AF0A73EA_9FB8_E954_41E0_E55E8870A2DD_de.mp3
audiores_C2C60324_A0A8_AADC_41C2_A229868879D5.mp3Url = media/audio_B767832E_9FB8_692C_41E2_8DF556ABEACA_de.mp3
audiores_C2F10258_A0A8_AB74_41C2_030D6591A8B7.mp3Url = media/audio_B8B0C97A_9FB8_F934_41E3_EAA63A48DF8C_de.mp3
audiores_C32AE5B8_A0A8_6934_41D4_4526AA5A1118.mp3Url = media/audio_C082D706_A0A8_EADC_41E0_9161F2AF2AAF_de.mp3
audiores_C3283772_A0A8_6934_41CD_FC1ABF2D3866.mp3Url = media/audio_C1EDFC9A_A0A8_7FF4_41DF_8A3C66794137_de.mp3
audiores_C3263C85_A0A8_7FDC_41C2_402C3A3754BE.mp3Url = media/audio_CC5D8E13_9FA8_BAF4_41CF_E34760352788_de.mp3
audiores_9C835946_A4B5_CE23_41D3_C58654494E90.mp3Url = media/audio_CD4A2968_A0AF_9954_41CA_82D08972DFA7_de.mp3
audiores_9C9BB4B8_A4B5_C66F_41B2_5FFCD077FB48.mp3Url = media/audio_CE188020_A0A9_E6D4_41D4_3F0BF091AC3E_de.mp3
audiores_9C86C61B_A4B5_C221_41E0_248F5A1AB27F.mp3Url = media/audio_CFF852F9_A0A8_6B34_41C3_E7D1B65DAE37_de.mp3
audiores_C3279B82_A0A8_79D4_41C6_0CAAA9D0CE7F.mp3Url = media/audio_D05BD6EF_9F97_AB2C_41DC_D3DC2E42DD2D_de.mp3
audiores_9C85E72A_A4B5_C263_41D8_2027FB0E3FAA.mp3Url = media/audio_D0DE11C4_A0A8_E95C_41B2_A7B709CB15DA_de.mp3
audiores_9C84F7F4_A4B5_C1E7_41D9_DE63ACE1CB41.mp3Url = media/audio_D276FF39_A0A8_9934_41C4_F4DB32358214_de.mp3
audiores_C2D91AA0_A0A8_7BD4_41DC_A098AFDB389A.mp3Url = media/audio_D2BB5D12_9F99_9EF4_41C8_B8F952ACB4DC_de.mp3
audiores_C2C94C23_A0A8_9ED4_41BF_691D564C4178.mp3Url = media/audio_D58178FE_9FE8_E72C_41D0_73281E864808_de.mp3
audiores_C2D003E5_A0A8_695C_41D8_6463C1EAA5FC.mp3Url = media/audio_D5D3719F_9F99_A9EC_41D2_C45557E64732_de.mp3
audiores_C2CB1AD5_A0A8_9B7C_41D0_99BE05830ABA.mp3Url = media/audio_D65FB754_9FE8_697C_41B7_E8E3D269D4A2_de.mp3
audiores_C2CDB9E4_A0A8_995C_41E3_F75D2C1F1587.mp3Url = media/audio_D733EDC6_9FEB_995C_41DB_A9CC966E29A5_de.mp3
audiores_9C827A13_A4B5_C221_41E0_7F66C5B89B56.mp3Url = media/audio_DA88FC2C_A097_9F2C_41DB_8AF34D818A11_de.mp3
audiores_C2C8ECF7_A0A8_9F3C_41C7_EBD484400EDF.mp3Url = media/audio_DB08B021_9FE8_66D4_4186_0B8B4CAAD9E3_de.mp3
audiores_9C81DBFD_A4B5_C1E1_41C7_7A6389229BA3.mp3Url = media/audio_DCB4900E_A09B_A6EC_41DE_EF0DF16F4154_de.mp3
audiores_E37AC741_A49D_4221_41D7_DCB5259C3021.mp3Url = media/audio_E26B7717_A494_C221_41E1_7AFAF4497BD1_de.mp3
audiores_E373EA7F_A49D_42E1_41C0_DFA9DC424F27.mp3Url = media/audio_E3A2DDB4_A49B_4667_41DD_CB4708F3BBC5_de.mp3
audiores_E3637322_A49D_4263_41E2_9E712441520D.mp3Url = media/audio_E445FD48_A48B_462F_41C8_EF4AB3DB42BC_de.mp3
audiores_E3B48D42_A49D_4623_41E2_ED0E8AD8B3B4.mp3Url = media/audio_E4E036A9_A48C_C261_41CE_F90CCDF8F813_de.mp3
audiores_E3C205A2_A49D_4663_41D2_6EF2AC0DBC34.mp3Url = media/audio_E4F10563_A4F4_C6E1_41B7_D2AF13713AA9_de.mp3
audiores_E3578BA1_A49C_C261_41C2_B130E807A212.mp3Url = media/audio_EC90ABFD_A49B_41E1_41E0_020FC603B7AA_de.mp3
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### Audio Subtitles

### Floorplan

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### Popup Image

### Titel
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### Video
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### Video Untertitel

## Popup

### Body
htmlText_A5A442D5_3BE0_38AB_41C7_A93FADDEDBF1.html = <div style="text-align:left; color:#000; "><HTML><BODY><DIV STYLE="text-align:left;font-size:30px;"><SPAN STYLE="display:inline-block; letter-spacing:0px; white-space:pre-wrap;color:#000000;font-family:Arial, Helvetica, sans-serif;"><SPAN STYLE="font-size:30px;"><B>Arnold Schönberg/Schoenberg</B></SPAN></SPAN></DIV><DIV STYLE="text-align:left;"><SPAN STYLE="display:inline-block; letter-spacing:0px; white-space:pre-wrap;color:#000000;font-family:Arial, Helvetica, sans-serif;"><SPAN/></SPAN></DIV><DIV STYLE="text-align:left;font-size:30px;"><SPAN STYLE="display:inline-block; letter-spacing:0px; white-space:pre-wrap;color:#000000;font-family:Arial, Helvetica, sans-serif;"><SPAN STYLE="font-size:30px;">1874 Wien – 1951 Los Angeles</SPAN></SPAN></DIV><DIV STYLE="text-align:left;"><SPAN STYLE="display:inline-block; letter-spacing:0px; white-space:pre-wrap;color:#000000;font-family:Arial, Helvetica, sans-serif;"><SPAN/></SPAN></DIV><DIV STYLE="text-align:left;font-size:30px;"><SPAN STYLE="display:inline-block; letter-spacing:0px; white-space:pre-wrap;color:#000000;font-family:Arial, Helvetica, sans-serif;"><SPAN STYLE="font-size:30px;">Erich Zeisl begegnete Arnold Schönberg nur ein einziges Mal: im Jahr 1945 bei einer von Erich Lachmann veranstalteten Party in Los Angeles. Nie hätte Schönberg geahnt, dass die Familien Zeisl und Schoenberg einst verschwägert sein würden: 1965 heiratete sein Sohn Ronald Zeisls Tochter Barbara. Die Vereinigung der beiden Familien erlebte Arnold Schönberg nicht mehr. Musikalisch waren Zeisl und Schönberg denkbar weit voneinander entfernt, doch zollten sie einander Respekt. Wegen seiner Abkehr von der die Tradition bestimmenden Tonalität und seiner Erfindung der Zwölftontechnik war Schönberg der umstrittenste Komponist des frühen 20. Jahrhunderts. Sein Übergang zur Dodekafonie folgte einer Periode expressiver freier Atonalität, die wiederum die Phase einer an Dissonanzen reichen und mitunter impressionistisch gefärbten Spätromantik abgelöst hatte, von der Schönbergs Idol Gustav Mahler tief beeindruckt gewesen war. Obwohl Arnold Schönberg in Los Angeles lebte, blieb er, ähnlich wie Krenek, der Filmindustrie fern.</SPAN></SPAN></DIV></BODY></HTML></div>
htmlText_9D545723_A48B_C260_41DD_F86C240AE5F2.html = <div style="text-align:left; color:#000; "><HTML><BODY><DIV STYLE="text-align:left;font-size:30px;"><SPAN STYLE="display:inline-block; letter-spacing:0px; white-space:pre-wrap;color:#000000;font-family:Arial, Helvetica, sans-serif;"><SPAN STYLE="font-size:30px;"><B>Arnold Schönberg</B></SPAN></SPAN></DIV><DIV STYLE="text-align:left;"><SPAN STYLE="display:inline-block; letter-spacing:0px; white-space:pre-wrap;color:#000000;font-family:Arial, Helvetica, sans-serif;"><SPAN/></SPAN></DIV><DIV STYLE="text-align:left;font-size:30px;"><SPAN STYLE="display:inline-block; letter-spacing:0px; white-space:pre-wrap;color:#000000;font-family:Arial, Helvetica, sans-serif;"><SPAN STYLE="font-size:30px;"><I>Kol Nidre</I></SPAN><SPAN STYLE="font-size:30px;">, op. 39 (1938)</SPAN></SPAN></DIV><DIV STYLE="text-align:left;font-size:30px;"><SPAN STYLE="display:inline-block; letter-spacing:0px; white-space:pre-wrap;color:#000000;font-family:Arial, Helvetica, sans-serif;"><SPAN STYLE="font-size:30px;">James Johnson, Rundfunkchor Berlin, SWR</SPAN></SPAN></DIV><DIV STYLE="text-align:left;font-size:30px;"><SPAN STYLE="display:inline-block; letter-spacing:0px; white-space:pre-wrap;color:#000000;font-family:Arial, Helvetica, sans-serif;"><SPAN STYLE="font-size:30px;">Sinfonieorchester Baden-Baden und Freiburg, Michael Gielen</SPAN></SPAN></DIV></BODY></HTML></div>
htmlText_0E146A86_3315_CC61_41C1_D6C27E20D801.html = <div style="text-align:left; color:#000; "><HTML><BODY><DIV STYLE="text-align:left;font-size:30px;"><SPAN STYLE="display:inline-block; letter-spacing:0px; white-space:pre-wrap;color:#000000;font-family:Arial, Helvetica, sans-serif;"><SPAN STYLE="font-size:30px;"><B>Café Tegetthoff</B></SPAN></SPAN></DIV><DIV STYLE="text-align:left;"><SPAN STYLE="display:inline-block; letter-spacing:0px; white-space:pre-wrap;color:#000000;font-family:Arial, Helvetica, sans-serif;"><SPAN/></SPAN></DIV><DIV STYLE="text-align:left;font-size:30px;"><SPAN STYLE="display:inline-block; letter-spacing:0px; white-space:pre-wrap;color:#000000;font-family:Arial, Helvetica, sans-serif;"><SPAN STYLE="font-size:30px;">Café Tegetthoff on Praterstern Square in Vienna’s largely Jewish second district was a typical Viennese coffeehouse. Its lively atmosphere is referred to in a hand-painted deck of quartets cards of 1932. The “Most-Fun Entertainment Spots” category includes a card for “Café Zeisl,” which shows a smoking gun, a pianist coaxing magical sounds out of his instrument, and couples exchanging caresses. Eric Zeisl grew up at Café Tegetthoff alongside his three brothers, Egon, Walter, and Wilhelm. Until its forced “Aryanization” in 1938, the place was owned by his father, Siegmund Zeisl, who had in turn bought it from his own father in 1897. The Aryanization records provide information details about the interior of the popular café, mentioning “newly polished and buffed tables” as well as “23 upholstered booths and approximately 90 chairs.” The records document the destruction of not only Siegmund Zeisl’s livelihood as a coffeehouse owner but also of his son Eric’s artistic future. After the war, Eric asked his friends Ernst Toch and Alfred Farau to look for the coffeehouse in Vienna and report back to him overseas. But there was no trace to be found of the once-grand Café Tegetthoff.</SPAN></SPAN></DIV><DIV STYLE="text-align:left;"><SPAN STYLE="display:inline-block; letter-spacing:0px; white-space:pre-wrap;color:#000000;font-family:Arial, Helvetica, sans-serif;"><SPAN/></SPAN></DIV></BODY></HTML></div>
htmlText_701F3485_3317_4463_41C0_414425EDF506.html = <div style="text-align:left; color:#000; "><HTML><BODY><DIV STYLE="text-align:left;font-size:30px;"><SPAN STYLE="display:inline-block; letter-spacing:0px; white-space:pre-wrap;color:#000000;font-family:Arial, Helvetica, sans-serif;"><SPAN STYLE="font-size:30px;"><B>Café Tegetthoff</B></SPAN></SPAN></DIV><DIV STYLE="text-align:left;"><SPAN STYLE="display:inline-block; letter-spacing:0px; white-space:pre-wrap;color:#000000;font-family:Arial, Helvetica, sans-serif;"><SPAN/></SPAN></DIV><DIV STYLE="text-align:left;font-size:30px;"><SPAN STYLE="display:inline-block; letter-spacing:0px; white-space:pre-wrap;color:#000000;font-family:Arial, Helvetica, sans-serif;"><SPAN STYLE="font-size:30px;">Das Café Tegetthoff am Praterstern war ein typisches Wiener Kaffeehaus im jüdisch geprägten zweiten Bezirk. Wie gesellig es dort zuging, erschließt sich aus einem handbemalten Kartenspiel von 1932, denn in der Quartettgruppe „Die lustigsten Vergnügungslokale“ findet sich das „Café Zeisl“: Hier raucht eine Pistole nach dem gerade abgefeuerten Schuss, dort entlockt ein Pianist seinem Instrument wundersame Töne, nebenbei werden Zärtlichkeiten ausgetauscht. Im Tegetthoff wuchs Erich Zeisl mit seinen drei Brüdern Egon, Walter und Wilhelm auf. Besitzer des Lokals war bis zur „Arisierung“ im Jahr 1938 der Vater Siegmund Zeisl, der es 1897 seinem eigenen Vater abgekauft hatte. Zum Interieur der gern besuchten Gaststätte gibt der „Arisierungsakt“ Auskunft: So liest man von „neupolierten und geschliffenen Tischen“, von „23 gepolsterten Logen und ca. 90 Sesseln“. Der Akt dokumentiert die Zerschlagung von Siegmund Zeisls Lebensgrundlage als Kaffeehausbetreiber, und er steht auch für die Zerstörung des künstlerischen Lebens von Siegmunds Sohn Erich. Nach dem Krieg bat Erich Zeisl die Freunde Ernst Toch und Alfred Farau, am Praterstern Nachschau zu halten und darüber nach Übersee zu berichten. Doch von dem einst stattlichen Café Tegetthoff war nichts mehr zu finden.</SPAN></SPAN></DIV><DIV STYLE="text-align:left;"><SPAN STYLE="display:inline-block; letter-spacing:0px; white-space:pre-wrap;color:#000000;font-family:Arial, Helvetica, sans-serif;"><SPAN/></SPAN></DIV><DIV STYLE="text-align:left;"><SPAN STYLE="display:inline-block; letter-spacing:0px; white-space:pre-wrap;color:#000000;font-family:Arial, Helvetica, sans-serif;"><SPAN/></SPAN></DIV></BODY></HTML></div>
htmlText_27D9ABFD_65CA_AA92_41D4_88B50F130F6E.html = <div style="text-align:left; color:#000; "><HTML><BODY><DIV STYLE="text-align:left;font-size:30px;"><SPAN STYLE="display:inline-block; letter-spacing:0px; white-space:pre-wrap;color:#000000;font-family:Arial, Helvetica, sans-serif;"><SPAN STYLE="font-size:30px;"><B>Early Successes in Vienna</B></SPAN></SPAN></DIV><DIV STYLE="text-align:left;font-size:30px;"><SPAN STYLE="display:inline-block; letter-spacing:0px; white-space:pre-wrap;color:#000000;font-family:Arial, Helvetica, sans-serif;"><SPAN STYLE="font-size:30px;"></SPAN></SPAN></DIV><DIV STYLE="text-align:left;font-size:30px;"><SPAN STYLE="display:inline-block; letter-spacing:0px; white-space:pre-wrap;color:#000000;font-family:Arial, Helvetica, sans-serif;"><SPAN STYLE="font-size:30px;">Eric Zeisl’s most significant teachers were Richard Stöhr and Hugo Kauder, with only a short-lived collaboration with Joseph Marx. In March 1924, when being presented as the composer of a Suite for Violin and Piano at the “Graduation Concert” of the Vienna chapter of the Austrian Music Educators Association, Zeisl was still listed as a student of Stöhr’s. His early Piano Trio Suite, premiered at the Vienna Konzerthaus in 1928, revealed a more independent voice; it was reviewed as “the spirited, talented work of a sixteen-year-old.” In the interwar period, Zeisl’s career definitely appeared to unfold with a spirited trajectory. He made lied composition his domain, explored stylistic boundaries in choral writing, drew on symphonic traditions in full orchestra pieces, and even playfully infused jazz elements into his ballet suite Pierrot in der Flasche (Pierrot in a Bottle). He expanded on the successes of the late 1920s and early 1930s with compositions like Requiem Concertante (1933/34), Passacaglia für großes Orchester (Passacaglia for Large Orchestra, 1933/34), Spruchkantate (Proverbs Cantata, 1935), and Kleine Symphonie (Little Symphony, 1935/36). In 1934, the critic Paul Amadeus Pisk described Zeisl as “one of the strongest personalities among Viennese composers under thirty years of age.”</SPAN></SPAN></DIV></BODY></HTML></div>
htmlText_19D82FFD_3A68_699D_41BE_E22C1166126E.html = <div style="text-align:left; color:#000; "><HTML><BODY><DIV STYLE="text-align:left;font-size:30px;"><SPAN STYLE="display:inline-block; letter-spacing:0px; white-space:pre-wrap;color:#000000;font-family:Arial, Helvetica, sans-serif;"><SPAN STYLE="font-size:30px;"><B>Eggerth / Kiepura</B></SPAN></SPAN></DIV><DIV STYLE="text-align:left;"><SPAN STYLE="display:inline-block; letter-spacing:0px; white-space:pre-wrap;color:#000000;font-family:Arial, Helvetica, sans-serif;"><SPAN/></SPAN></DIV><DIV STYLE="text-align:left;font-size:30px;"><SPAN STYLE="display:inline-block; letter-spacing:0px; white-space:pre-wrap;color:#000000;font-family:Arial, Helvetica, sans-serif;"><SPAN STYLE="font-size:30px;"><I>Valse brillante</I></SPAN><SPAN STYLE="font-size:30px;"> aus dem Film </SPAN><SPAN STYLE="font-size:30px;"><I>Valse brillante </I></SPAN><SPAN STYLE="font-size:30px;">(1949)</SPAN></SPAN></DIV><DIV STYLE="text-align:left;font-size:30px;"><SPAN STYLE="display:inline-block; letter-spacing:0px; white-space:pre-wrap;color:#000000;font-family:Arial, Helvetica, sans-serif;"><SPAN STYLE="font-size:30px;">Marta Eggerth und Jan Kiepura</SPAN></SPAN></DIV></BODY></HTML></div>
htmlText_15F3BEE7_3AE8_2BAD_41C0_3E8D0F2CB245.html = <div style="text-align:left; color:#000; "><HTML><BODY><DIV STYLE="text-align:left;font-size:30px;"><SPAN STYLE="display:inline-block; letter-spacing:0px; white-space:pre-wrap;color:#000000;font-family:Arial, Helvetica, sans-serif;"><SPAN STYLE="font-size:30px;"><B>Eric Zeisl—Vienna’s Lost Son Returns Home Through His Music</B></SPAN></SPAN></DIV><DIV STYLE="text-align:left;"><SPAN STYLE="display:inline-block; letter-spacing:0px; white-space:pre-wrap;color:#000000;font-family:Arial, Helvetica, sans-serif;"><SPAN/></SPAN></DIV><DIV STYLE="text-align:left;font-size:30px;"><SPAN STYLE="display:inline-block; letter-spacing:0px; white-space:pre-wrap;color:#000000;font-family:Arial, Helvetica, sans-serif;"><SPAN STYLE="font-size:30px;">Fourteen years after receiving the U.S. citizenship, Eric Zeisl—forever Viennese at heart—passed away on February 18, 1959, aged just 53, after suffering a heart attack following a lecture he had given at Los Angeles City College. In May of that year, Los Angeles’s music community honored him with a tribute concert at the First Methodist Church of Hollywood, with Rabbi Jacob Sonderling officiating. It took a long way to preserve Zeisl’s legacy and bring his work back to Vienna, starting with the 1975 recording of his widow Gertrud’s memories by musicologist Malcolm S. Cole, who also published the first biography on Zeisl with a comprehensive catalogue of works in 1984. Interest in Zeisl was rekindled in 1998 with the Decca release of Requiem Ebraico in the label’s “Entartete Musik” series and the Austrian broadcaster ORF’s CD recording of his Piano Trio Suite. His daughter, Barbara Zeisl-Schoenberg, shared materials with the music world, while her son, E. Randol Schoenberg, created a detailed website about his grandfather. 2005 was another landmark year: the Vienna-based publisher Czernin Verlag brought out the first German-language biography, and the Vienna Jewish Museum hosted a Zeisl exhibition for the 100th anniversary of his birthday. This was followed by CD releases of Zeisl’s oeuvre of lieder as well as chamber music and orchestral works. In 2008, the publication of his correspondences by Czernin Verlag and the documentary Eric(h) Zeisl—An Unfinished Life offered deeper insights. Today, Zeisl’s works are celebrated as part of Vienna’s reclaimed musical heritage, brought back into contemporary public awareness and performance practice by scholarly research on exiled musicians. The fact that his estate is now being transferred from UCLA to the Exilarte Center in Vienna marks a symbolic homecoming for “Vienna’s lost son in foreign lands.”</SPAN></SPAN></DIV></BODY></HTML></div>
htmlText_3FE93869_7979_551D_41C1_1EFE76B9CBE5.html = <div style="text-align:left; color:#000; "><HTML><BODY><DIV STYLE="text-align:left;font-size:30px;"><SPAN STYLE="display:inline-block; letter-spacing:0px; white-space:pre-wrap;color:#000000;font-family:Arial, Helvetica, sans-serif;"><SPAN STYLE="font-size:30px;"><B>Eric Zeisl—Vienna’s Lost Son in Foreign Lands</B></SPAN></SPAN></DIV><DIV STYLE="text-align:left;"><SPAN STYLE="display:inline-block; letter-spacing:0px; white-space:pre-wrap;color:#000000;font-family:Arial, Helvetica, sans-serif;"><SPAN/></SPAN></DIV><DIV STYLE="text-align:left;font-size:30px;"><SPAN STYLE="display:inline-block; letter-spacing:0px; white-space:pre-wrap;color:#000000;font-family:Arial, Helvetica, sans-serif;"><SPAN STYLE="font-size:30px;">Born 1905 in Vienna, Eric Zeisl died in exile in Los Angeles in 1959. A musical prodigy, he enrolled already as a teenager, against his parents’ wishes, in the then Academy of Music and Performing Arts (today’s mdw). In Vienna’s moderate modernist movement, Zeisl quickly made a name for himself as a composer who was brilliant at German lied composition and also produced much-noted chamber music, choral, and orchestral works. His lied Komm süsser Tod (Come Sweet Death), written in January 1938 and first performed just before Austria’s annexation by Nazi Germany, was his last German-language composition, marking the end of a promising career. Zeisl had to flee under dramatic circumstances, first to Paris, then to New York, and finally settled down in Los Angeles. After disappointment and frustration in Hollywood, his work found a new home within the sphere of “Jewish art music.” The quintessence of his artistic oeuvre in exile was to combine a musical language developed back in Austria with idiomatic Jewish elements into something distinctively new. “Vienna’s lost son in foreign lands,” as Zeisl’s friend Hilde Spiel described him, would never see his hometown again.</SPAN></SPAN></DIV></BODY></HTML></div>
htmlText_9E123E12_3A63_7169_41C7_DF981D01A539.html = <div style="text-align:left; color:#000; "><HTML><BODY><DIV STYLE="text-align:left;font-size:30px;"><SPAN STYLE="display:inline-block; letter-spacing:0px; white-space:pre-wrap;color:#000000;font-family:Arial, Helvetica, sans-serif;"><SPAN STYLE="font-size:30px;"><B>Erich Wolfgang Korngold</B></SPAN></SPAN></DIV><DIV STYLE="text-align:left;"><SPAN STYLE="display:inline-block; letter-spacing:0px; white-space:pre-wrap;color:#000000;font-family:Arial, Helvetica, sans-serif;"><SPAN/></SPAN></DIV><DIV STYLE="text-align:left;font-size:30px;"><SPAN STYLE="display:inline-block; letter-spacing:0px; white-space:pre-wrap;color:#000000;font-family:Arial, Helvetica, sans-serif;"><SPAN STYLE="font-size:30px;">1897 Brno/Brünn – 1957 Los Angeles</SPAN></SPAN></DIV><DIV STYLE="text-align:left;"><SPAN STYLE="display:inline-block; letter-spacing:0px; white-space:pre-wrap;color:#000000;font-family:Arial, Helvetica, sans-serif;"><SPAN/></SPAN></DIV><DIV STYLE="text-align:left;font-size:30px;"><SPAN STYLE="display:inline-block; letter-spacing:0px; white-space:pre-wrap;color:#000000;font-family:Arial, Helvetica, sans-serif;"><SPAN STYLE="font-size:30px;">Erich Wolfgang Korngold war ein gefeiertes Wunderkind, schon seine Jugendwerke wurden an der Wiener und Münchner Oper gespielt. Kein anderer Komponist konnte zu Lebzeiten so viele Aufführungen verzeichnen wie Korngold mit der Oper Die tote Stadt. Sein Vater Julius war der einflussreichste Musikkritiker seiner Zeit und ein vehementer Verteidiger Gustav Mahlers an der Hofoper. Julius’ Ehrfurcht vor Mahler und seine unnachgiebige journalistische Unterstützung für ihn, ebenso wie sein dominantes Verhalten dem Sohn gegenüber, trieben diesen in die Welt der Operette. Schließlich schlug Erich Wolfgang Korngold den Weg nach Los Angeles ein, wo er als einer der Hauptkomponisten von Warner Bros. eine Karriere startete, die ihm zwei Oscars einbrachte. Unmittelbar nach dem Krieg verließ er die Filmstudios. An seine frühere Popularität konnte er jedoch nicht wieder anknüpfen. Zurück in Europa wurde Korngolds Musik als „altmodisch“ und „von Hollywood verdorben“ abgestempelt. Erich Wolfgang Korngold verstarb mit dem Gefühl, gescheitert zu sein; heute ist er als einer der führenden Komponisten seiner Generation anerkannt. Die Familien Korngold und Zeisl waren in Los Angeles eng befreundet.</SPAN></SPAN></DIV></BODY></HTML></div>
htmlText_9FC4B183_A4FD_DE21_41DC_E79F4E364861.html = <div style="text-align:left; color:#000; "><HTML><BODY><DIV STYLE="text-align:left;font-size:30px;"><SPAN STYLE="display:inline-block; letter-spacing:0px; white-space:pre-wrap;color:#000000;font-family:Arial, Helvetica, sans-serif;"><SPAN STYLE="font-size:30px;"><B>Erich Wolfgang Korngold</B></SPAN></SPAN></DIV><DIV STYLE="text-align:left;"><SPAN STYLE="display:inline-block; letter-spacing:0px; white-space:pre-wrap;color:#000000;font-family:Arial, Helvetica, sans-serif;"><SPAN/></SPAN></DIV><DIV STYLE="text-align:left;font-size:30px;"><SPAN STYLE="display:inline-block; letter-spacing:0px; white-space:pre-wrap;color:#000000;font-family:Arial, Helvetica, sans-serif;"><SPAN STYLE="font-size:30px;"><I>Die stumme Serenade</I></SPAN><SPAN STYLE="font-size:30px;">, op. 36 (1946–50): </SPAN><SPAN STYLE="font-size:30px;"><I>Die schöne Nacht</I></SPAN></SPAN></DIV><DIV STYLE="text-align:left;font-size:30px;"><SPAN STYLE="display:inline-block; letter-spacing:0px; white-space:pre-wrap;color:#000000;font-family:Arial, Helvetica, sans-serif;"><SPAN STYLE="font-size:30px;">Erich Wolfgang Korngold, Klavier</SPAN></SPAN></DIV></BODY></HTML></div>
htmlText_3FE9B86B_7979_551D_41C8_3CDA258689DF.html = <div style="text-align:left; color:#000; "><HTML><BODY><DIV STYLE="text-align:left;font-size:30px;"><SPAN STYLE="display:inline-block; letter-spacing:0px; white-space:pre-wrap;color:#000000;font-family:Arial, Helvetica, sans-serif;"><SPAN STYLE="font-size:30px;"><B>Erich Zeisl – Wiens verlorener Sohn in der Fremde</B></SPAN></SPAN></DIV><DIV STYLE="text-align:left;"><SPAN STYLE="display:inline-block; letter-spacing:0px; white-space:pre-wrap;color:#000000;font-family:Arial, Helvetica, sans-serif;"><SPAN/></SPAN></DIV><DIV STYLE="text-align:left;font-size:30px;"><SPAN STYLE="display:inline-block; letter-spacing:0px; white-space:pre-wrap;color:#000000;font-family:Arial, Helvetica, sans-serif;"><SPAN STYLE="font-size:30px;">Erich Zeisl (der seinen Vornamen später in Eric änderte) wurde 1905 in Wien geboren und verstarb 1959 im Exil in Los Angeles. Hochbegabt, trat er im Jugendalter gegen den Willen der Eltern in die damalige Akademie für Musik und darstellende Kunst (heute mdw) ein. Innerhalb der moderaten Wiener Moderne machte er sich rasch einen Namen als Komponist, der die Sprache des deutschen Kunstliedes glänzend beherrschte und viel beachtete Kammermusik-, Chor- und Orchesterwerke schuf. Das Lied Komm süsser Tod, komponiert im Jänner 1938 und noch vor dem „Anschluss“ uraufgeführt, stand als sein letztes Lied in deutscher Sprache am Ende einer verheißungsvollen Karriere. Unter dramatischen Umständen flüchtete Zeisl nach Paris, von dort weiter nach New York und Los Angeles. Nach Enttäuschungen und Frustration in Hollywood fand sein Werk Verankerung im Feld der „jüdischen Kunstmusik“. Es war die Quintessenz von Zeisls künstlerischem Schaffen im Exil, dass er die in der Heimat entwickelte Musiksprache mit jüdischer Idiomatik zu etwas Neuem verband. Seine Heimatstadt sah „Wiens verlorener Sohn in der Fremde“, wie Hilde Spiel den Freund beschrieb, nie wieder.</SPAN></SPAN></DIV><DIV STYLE="text-align:left;"><SPAN STYLE="display:inline-block; letter-spacing:0px; white-space:pre-wrap;color:#000000;font-family:Arial, Helvetica, sans-serif;"><SPAN/></SPAN></DIV><DIV STYLE="text-align:left;"><SPAN STYLE="display:inline-block; letter-spacing:0px; white-space:pre-wrap;color:#000000;font-family:Arial, Helvetica, sans-serif;"><SPAN/></SPAN></DIV></BODY></HTML></div>
htmlText_9D387025_3A62_B1AB_41B2_4954D95F21EA.html = <div style="text-align:left; color:#000; "><HTML><BODY><DIV STYLE="text-align:left;font-size:30px;"><SPAN STYLE="display:inline-block; letter-spacing:0px; white-space:pre-wrap;color:#000000;font-family:Arial, Helvetica, sans-serif;"><SPAN STYLE="font-size:30px;"><B>Erich Zeisl – Wiens verlorener Sohn kehrt über seine Musik heim</B></SPAN></SPAN></DIV><DIV STYLE="text-align:left;"><SPAN STYLE="display:inline-block; letter-spacing:0px; white-space:pre-wrap;color:#000000;font-family:Arial, Helvetica, sans-serif;"><SPAN/></SPAN></DIV><DIV STYLE="text-align:left;font-size:30px;"><SPAN STYLE="display:inline-block; letter-spacing:0px; white-space:pre-wrap;color:#000000;font-family:Arial, Helvetica, sans-serif;"><SPAN STYLE="font-size:30px;">14 Jahre nachdem Erich Zeisl die US-amerikanische Staatsbürgerschaft erhalten hatte, erlitt er, im Herzen immer noch Wiener, am 18. Februar 1959 nach einer Vorlesung am Los Angeles City College einen Herzinfarkt, an dessen Folgen er im Alter von nur 53 Jahren starb. Mit einem Gedenkkonzert im Mai 1959 in der First Methodist Church of Hollywood erwies die Musikwelt von Los Angeles dem Verstorbenen ihren Respekt – den Gottesdienst hielt der Rabbiner Jacob Sonderling ab. Es war ein langer Weg, Zeisls Werk und die Erinnerung an sein Leben zu erhalten und auch zurück nach Wien zu bringen. Am Anfang stand die Aufzeichnung von Gertrud Zeisls Erinnerungen durch den Musikwissenschaftler Malcolm S. Cole im Jahr 1975. Aus Coles Feder stammt auch die erste biografische Darstellung zu Zeisl samt umfangreicher Werkbeschreibung (1984). Dann wurde es ruhig um den Exilösterreicher, bis 1998 mit dem Erscheinen des Requiem Ebraico in der Decca-Reihe „Entartete Musik“ und der Klaviertrio-Suite auf einer ORF-CD ein doppelter Impuls gegeben wurde. Zeisls Tochter Barbara Zeisl-Schoenberg stellte der Musikwelt Material zur Verfügung und ihr Sohn E. Randol Schoenberg gestaltete eine umfangreiche Website zu seinem Großvater. Markant war das Jahr 2005: Im Wiener Czernin Verlag erschien die erste deutschsprachige Biografie, und das Jüdische Museum Wien widmete Zeisl zum 100. Geburtstag eine Ausstellung. CD-Publikationen zum Liedwerk folgten, ebenso zur Kammermusik und zu Orchesterwerken. 2008 veröffentlichte der Czernin Verlag Zeisls Korrespondenz; mit Eric(h) Zeisl – ein unvollendetes Leben folgte eine fundierte Filmdokumentation. Heute zählt Erich Zeisl zu jenen vertriebenen Wiener Komponisten, deren Werke durch die Errungenschaften der Exilmusikforschung in das gegenwärtige musikalische Bewusstsein gelangten und Eingang in den aktuellen Kanon der musikalischen Praxis fanden. Dass Zeisls Nachlass nun von der University of California, Los Angeles, an das Exilarte Zentrum in Wien übergeben wird, ist ein besonderer Ausdruck der Rückkehr von „Wiens verlorenem Sohn“ aus der Fremde.</SPAN></SPAN></DIV><DIV STYLE="text-align:left;"><SPAN STYLE="display:inline-block; letter-spacing:0px; white-space:pre-wrap;color:#000000;font-family:Arial, Helvetica, sans-serif;"><SPAN/></SPAN></DIV><DIV STYLE="text-align:left;"><SPAN STYLE="display:inline-block; letter-spacing:0px; white-space:pre-wrap;color:#000000;font-family:Arial, Helvetica, sans-serif;"><SPAN/></SPAN></DIV></BODY></HTML></div>
htmlText_BFCDF54A_3860_79B9_41C9_5A5D5BFAC295.html = <div style="text-align:left; color:#000; "><HTML><BODY><DIV STYLE="text-align:left;font-size:30px;"><SPAN STYLE="display:inline-block; letter-spacing:0px; white-space:pre-wrap;color:#000000;font-family:Arial, Helvetica, sans-serif;"><SPAN STYLE="font-size:30px;"><B>Ernst Krenek</B></SPAN></SPAN></DIV><DIV STYLE="text-align:left;"><SPAN STYLE="display:inline-block; letter-spacing:0px; white-space:pre-wrap;color:#000000;font-family:Arial, Helvetica, sans-serif;"><SPAN/></SPAN></DIV><DIV STYLE="text-align:left;font-size:30px;"><SPAN STYLE="display:inline-block; letter-spacing:0px; white-space:pre-wrap;color:#000000;font-family:Arial, Helvetica, sans-serif;"><SPAN STYLE="font-size:30px;">1900 Vienna – 1991 Palm Springs</SPAN></SPAN></DIV><DIV STYLE="text-align:left;"><SPAN STYLE="display:inline-block; letter-spacing:0px; white-space:pre-wrap;color:#000000;font-family:Arial, Helvetica, sans-serif;"><SPAN/></SPAN></DIV><DIV STYLE="text-align:left;font-size:30px;"><SPAN STYLE="display:inline-block; letter-spacing:0px; white-space:pre-wrap;color:#000000;font-family:Arial, Helvetica, sans-serif;"><SPAN STYLE="font-size:30px;">Krenek caused a sensation with his jazzy opera Jonny spielt auf, which premiered in Leipzig in 1927, the same year as Korngold’s opulent opera The Miracle of Heliane (Hamburg). The two operas represented a juxtaposition of progress and tradition. Krenek fled from the Nazis because his music was deemed “degenerate”; also, his second wife, the actress Berta Haas (aka Berta Hermann), was Jewish. He experimented with many new musical developments but roundly refused to compose film scores despite being close to many German-Austrian exiles who worked in Hollywood or were dependent on the film industry. When Erich Zeisl left the film studios, it was Krenek who recommended him for a lecturership at Los Angeles City College after he had substituted for Krenek and taken over his classes for a brief stint.</SPAN></SPAN></DIV></BODY></HTML></div>
htmlText_BCE5B544_3863_F9A9_41C7_74575CDD286F.html = <div style="text-align:left; color:#000; "><HTML><BODY><DIV STYLE="text-align:left;font-size:30px;"><SPAN STYLE="display:inline-block; letter-spacing:0px; white-space:pre-wrap;color:#000000;font-family:Arial, Helvetica, sans-serif;"><SPAN STYLE="font-size:30px;"><B>Ernst Krenek</B></SPAN></SPAN></DIV><DIV STYLE="text-align:left;"><SPAN STYLE="display:inline-block; letter-spacing:0px; white-space:pre-wrap;color:#000000;font-family:Arial, Helvetica, sans-serif;"><SPAN/></SPAN></DIV><DIV STYLE="text-align:left;font-size:30px;"><SPAN STYLE="display:inline-block; letter-spacing:0px; white-space:pre-wrap;color:#000000;font-family:Arial, Helvetica, sans-serif;"><SPAN STYLE="font-size:30px;">1900 Wien – 1991 Palm Springs</SPAN></SPAN></DIV><DIV STYLE="text-align:left;font-size:30px;"><SPAN STYLE="display:inline-block; letter-spacing:0px; white-space:pre-wrap;color:#000000;font-family:Arial, Helvetica, sans-serif;"><SPAN STYLE="font-size:30px;">Ernst Krenek erregte Aufsehen mit seiner jazzigen Oper Jonny spielt auf, die 1927 in Leipzig uraufgeführt wurde – im gleichen Jahr wie Erich Wolfgang Korngolds opulente Oper Das Wunder der Heliane (Hamburg). In Form der zwei Opern standen einander die Positionen von Fortschritt und Tradition gegenüber. Krenek flüchtete vor den Nationalsozialisten, weil seine Musik als „entartet“ galt und seine zweite Frau, die Schauspielerin Berta Haas (alias Berta Hermann), Jüdin war. Er experimentierte mit vielen neuen musikalischen Entwicklungen; einzig das Komponieren für den Film lehnte er trotz seiner Nähe zu den in Hollywood tätigen und von der Filmindustrie abhängigen deutsch-österreichischen Exilanten ab. Als Erich Zeisl die Filmstudios verließ, war es Krenek, der ihn für einen Lehrauftrag am Los Angeles City College empfahl, nachdem Zeisl kurzzeitig seine Stunden übernommen hatte.</SPAN></SPAN></DIV></BODY></HTML></div>
htmlText_9F1E2073_A4FD_3EE1_41DC_E827C0636DBE.html = <div style="text-align:left; color:#000; "><HTML><BODY><DIV STYLE="text-align:left;font-size:30px;"><SPAN STYLE="display:inline-block; letter-spacing:0px; white-space:pre-wrap;color:#000000;font-family:Arial, Helvetica, sans-serif;"><SPAN STYLE="font-size:30px;"><B>Ernst Krenek</B></SPAN></SPAN></DIV><DIV STYLE="text-align:left;font-size:30px;"><SPAN STYLE="display:inline-block; letter-spacing:0px; white-space:pre-wrap;color:#000000;font-family:Arial, Helvetica, sans-serif;"><SPAN STYLE="font-size:30px;"><I>Reisebuch aus den österreichischen Alpen</I></SPAN><SPAN STYLE="font-size:30px;">, op. 62 (1929)</SPAN></SPAN></DIV><DIV STYLE="text-align:left;font-size:30px;"><SPAN STYLE="display:inline-block; letter-spacing:0px; white-space:pre-wrap;color:#000000;font-family:Arial, Helvetica, sans-serif;"><SPAN STYLE="font-size:30px;">Nr. 8: </SPAN><SPAN STYLE="font-size:30px;"><I>Unser Wein</I></SPAN></SPAN></DIV><DIV STYLE="text-align:left;font-size:30px;"><SPAN STYLE="display:inline-block; letter-spacing:0px; white-space:pre-wrap;color:#000000;font-family:Arial, Helvetica, sans-serif;"><SPAN STYLE="font-size:30px;">Julius Patzak, Tenor</SPAN></SPAN></DIV><DIV STYLE="text-align:left;font-size:30px;"><SPAN STYLE="display:inline-block; letter-spacing:0px; white-space:pre-wrap;color:#000000;font-family:Arial, Helvetica, sans-serif;"><SPAN STYLE="font-size:30px;">Heinrich Schmidt, Klavier</SPAN></SPAN></DIV></BODY></HTML></div>
htmlText_4A112B3A_3715_CCA1_41C1_3983AA9DC059.html = <div style="text-align:left; color:#000; "><HTML><BODY><DIV STYLE="text-align:left;font-size:30px;"><SPAN STYLE="display:inline-block; letter-spacing:0px; white-space:pre-wrap;color:#000000;font-family:Arial, Helvetica, sans-serif;"><SPAN STYLE="font-size:30px;"><B>Felix Galimir </B></SPAN></SPAN></DIV><DIV STYLE="text-align:left;"><SPAN STYLE="display:inline-block; letter-spacing:0px; white-space:pre-wrap;color:#000000;font-family:Arial, Helvetica, sans-serif;"><SPAN/></SPAN></DIV><DIV STYLE="text-align:left;font-size:30px;"><SPAN STYLE="display:inline-block; letter-spacing:0px; white-space:pre-wrap;color:#000000;font-family:Arial, Helvetica, sans-serif;"><SPAN STYLE="font-size:30px;">1910 Vienna – 1999 New York</SPAN></SPAN></DIV><DIV STYLE="text-align:left;font-size:30px;"><SPAN STYLE="display:inline-block; letter-spacing:0px; white-space:pre-wrap;color:#000000;font-family:Arial, Helvetica, sans-serif;"><SPAN STYLE="font-size:30px;">Felix Galimir and his three sisters Adrienne, Marguerite, and Renée founded the famous Galimir Quartet in 1927 and soon established themselves as one of Europe’s leading ensembles for contemporary music. With their historic first recording of Alban Berg’s Lyric Suite the quartet made a special name for themselves as interpreters of the Second Viennese School but had also had previous successes with their recordings of Maurice Ravel’s Quartet in F Major and Darius Milhaud’s String Quartet No. 7, both of which were made under the supervision of the composers. Erich Zeisl dedicated his First String Quartet in D Minor to the Galimirs, which they then premiered in Vienna. Antisemitic obstruction prevented Galimir from attaining a permanent position with the Vienna Philharmonic in 1936, which made him leave Austria for Palestine. He played in Bronisław Huberman’s newly founded Palestine Orchestra before Adrienne’s marriage to American violinist Louis Krasner enabled him to immigrate to the United States. He joined Arturo Toscanini’s NBC Symphony Orchestra as concertmaster and re-established the Galimir Quartet, which continued to perform successfully, with varying players, until 1993. He taught at numerous American conservatories as well as at the Marlboro Summer Music Courses.</SPAN></SPAN></DIV></BODY></HTML></div>
htmlText_B7123B2D_3717_4CA3_41A5_9674091E3F5F.html = <div style="text-align:left; color:#000; "><HTML><BODY><DIV STYLE="text-align:left;font-size:30px;"><SPAN STYLE="display:inline-block; letter-spacing:0px; white-space:pre-wrap;color:#000000;font-family:Arial, Helvetica, sans-serif;"><SPAN STYLE="font-size:30px;"><B>Felix Galimir </B></SPAN></SPAN></DIV><DIV STYLE="text-align:left;"><SPAN STYLE="display:inline-block; letter-spacing:0px; white-space:pre-wrap;color:#000000;font-family:Arial, Helvetica, sans-serif;"><SPAN/></SPAN></DIV><DIV STYLE="text-align:left;font-size:30px;"><SPAN STYLE="display:inline-block; letter-spacing:0px; white-space:pre-wrap;color:#000000;font-family:Arial, Helvetica, sans-serif;"><SPAN STYLE="font-size:30px;">1910 Wien – 1999 New York</SPAN></SPAN></DIV><DIV STYLE="text-align:left;"><SPAN STYLE="display:inline-block; letter-spacing:0px; white-space:pre-wrap;color:#000000;font-family:Arial, Helvetica, sans-serif;"><SPAN/></SPAN></DIV><DIV STYLE="text-align:left;font-size:30px;"><SPAN STYLE="display:inline-block; letter-spacing:0px; white-space:pre-wrap;color:#000000;font-family:Arial, Helvetica, sans-serif;"><SPAN STYLE="font-size:30px;">Felix Galimir und seine drei Schwestern Adrienne, Marguerite und Renée gründeten 1927 das berühmte Galimir-Quartett, das bald zu einem der führenden europäischen Ensembles für zeitgenössische Musik avancierte. Durch die historische Erstaufnahme von Alban Bergs Lyrischer Suite machte sich das Quartett einen Namen als Interpret:innen von Werken der Zweiten Wiener Schule, doch bereits zuvor hatte es mit den Aufnahmen von Maurice Ravels Streichquartett F-Dur und Darius Milhauds Streichquartett Nr. 7 Erfolge erzielt. Die beiden Einspielungen entstanden unter der Aufsicht der Komponisten. Erich Zeisl widmete den Galimirs das Erste Streichquartett in d-Moll, das Ensemble brachte das Stück in Wien zur Uraufführung. 1936 verhinderte antisemitische Quertreiberei Felix Galimirs Aufstieg bei den Wiener Philharmonikern, woraufhin er Österreich in Richtung Palästina verließ. Er spielte in Bronisław Hubermans neu gegründetem Palestine Orchestra, bevor er dank Adriennes Heirat mit dem amerikanischen Geiger Louis Krasner in die Vereinigten Staaten emigrieren konnte. Galimir trat als Konzertmeister in Arturo Toscaninis NBC Symphony Orchestra ein und gründete das in unterschiedlicher Besetzung bis 1993 erfolgreiche Galimir-Quartett neu. Als Lehrer wirkte er an zahlreichen amerikanischen Konservatorien und bei den Marlboro Summer Music Courses.</SPAN></SPAN></DIV></BODY></HTML></div>
htmlText_9ADA4CEC_A48C_C7E7_41DC_C427CB9EFFBA.html = <div style="text-align:left; color:#000; "><HTML><BODY><DIV STYLE="text-align:left;font-size:30px;"><SPAN STYLE="display:inline-block; letter-spacing:0px; white-space:pre-wrap;color:#000000;font-family:Arial, Helvetica, sans-serif;"><SPAN STYLE="font-size:30px;"><B>Felix Galimir</B></SPAN></SPAN></DIV><DIV STYLE="text-align:left;font-size:30px;"><SPAN STYLE="display:inline-block; letter-spacing:0px; white-space:pre-wrap;color:#000000;font-family:Arial, Helvetica, sans-serif;"><SPAN STYLE="font-size:30px;"></SPAN></SPAN></DIV><DIV STYLE="text-align:left;font-size:30px;"><SPAN STYLE="display:inline-block; letter-spacing:0px; white-space:pre-wrap;color:#000000;font-family:Arial, Helvetica, sans-serif;"><SPAN STYLE="font-size:30px;">Alban Berg: </SPAN></SPAN></DIV><DIV STYLE="text-align:left;font-size:30px;"><SPAN STYLE="display:inline-block; letter-spacing:0px; white-space:pre-wrap;color:#000000;font-family:Arial, Helvetica, sans-serif;"><SPAN STYLE="font-size:30px;"><I>Lyrische Suite</I></SPAN><SPAN STYLE="font-size:30px;"> (1925/26)</SPAN></SPAN></DIV><DIV STYLE="text-align:left;font-size:30px;"><SPAN STYLE="display:inline-block; letter-spacing:0px; white-space:pre-wrap;color:#000000;font-family:Arial, Helvetica, sans-serif;"><SPAN STYLE="font-size:30px;">1. Satz: Allegretto giovale</SPAN></SPAN></DIV><DIV STYLE="text-align:left;font-size:30px;"><SPAN STYLE="display:inline-block; letter-spacing:0px; white-space:pre-wrap;color:#000000;font-family:Arial, Helvetica, sans-serif;"><SPAN STYLE="font-size:30px;">Galimir Quartett</SPAN></SPAN></DIV></BODY></HTML></div>
htmlText_7B571473_2EFD_7365_41B6_FB9173EBE492.html = <div style="text-align:left; color:#000; "><HTML><BODY><DIV STYLE="text-align:left;font-size:30px;"><SPAN STYLE="display:inline-block; letter-spacing:0px; white-space:pre-wrap;color:#000000;font-family:Arial, Helvetica, sans-serif;"><SPAN STYLE="font-size:30px;"><B>Frühe Erfolge in Wien</B></SPAN></SPAN></DIV><DIV STYLE="text-align:left;"><SPAN STYLE="display:inline-block; letter-spacing:0px; white-space:pre-wrap;color:#000000;font-family:Arial, Helvetica, sans-serif;"><SPAN/></SPAN></DIV><DIV STYLE="text-align:left;font-size:30px;"><SPAN STYLE="display:inline-block; letter-spacing:0px; white-space:pre-wrap;color:#000000;font-family:Arial, Helvetica, sans-serif;"><SPAN STYLE="font-size:30px;">Richard Stöhr und Hugo Kauder waren Zeisls bedeutende Lehrer, die Zusammenarbeit mit Joseph Marx währte dagegen nur kurz. Im „Reife-Konzert“ der Ortsgruppe Wien des Österreichischen Musikpädagogischen Verbandes präsentierte Zeisl sich im März 1924 mit der Suite für Violine und Klavier noch als Schüler Stöhrs. Eigenständiger zeigte sich die frühe Klaviertrio-Suite, die im Wiener Konzerthaus 1928 erstaufgeführt und als die „temperamentvolle, begabte Arbeit eines Sechzehnjährigen“ rezensiert wurde. Wahrlich temperamentvoll entwickelte sich in der Zwischenkriegszeit Zeisls Karriere: Das Lied wurde ihm zur Domäne, in der Chorkomposition lotete er Stilgrenzen aus, mit dem vollen Orchesterapparat schöpfte er aus der Tradition und kokettierte in der Ballettsuite Pierrot in der Flasche auch mit Jazzeinflüssen. Er baute die Erfolge der späten 1920er- und frühen 1930er-Jahre noch aus, es entstanden Werke wie das Requiem Concertante (1933/34), die Passacaglia für großes Orchester (1933/34), die Spruchkantate (1935) oder die Kleine Symphonie (1935/36). Paul Amadeus Pisk bezeichnete Zeisl 1934 als „eine der stärksten Persönlichkeiten der noch nicht dreißigjährigen Wiener Komponisten“.</SPAN></SPAN></DIV><DIV STYLE="text-align:left;"><SPAN STYLE="display:inline-block; letter-spacing:0px; white-space:pre-wrap;color:#000000;font-family:Arial, Helvetica, sans-serif;"><SPAN/></SPAN></DIV><DIV STYLE="text-align:left;"><SPAN STYLE="display:inline-block; letter-spacing:0px; white-space:pre-wrap;color:#000000;font-family:Arial, Helvetica, sans-serif;"><SPAN/></SPAN></DIV></BODY></HTML></div>
htmlText_BFC329AA_3BE0_28F9_41A9_ABFB20B5B846.html = <div style="text-align:left; color:#000; "><HTML><BODY><DIV STYLE="text-align:left;font-size:30px;"><SPAN STYLE="display:inline-block; letter-spacing:0px; white-space:pre-wrap;color:#000000;font-family:Arial, Helvetica, sans-serif;"><SPAN STYLE="font-size:30px;"><B>Hanns Eisler</B></SPAN></SPAN></DIV><DIV STYLE="text-align:left;"><SPAN STYLE="display:inline-block; letter-spacing:0px; white-space:pre-wrap;color:#000000;font-family:Arial, Helvetica, sans-serif;"><SPAN/></SPAN></DIV><DIV STYLE="text-align:left;font-size:30px;"><SPAN STYLE="display:inline-block; letter-spacing:0px; white-space:pre-wrap;color:#000000;font-family:Arial, Helvetica, sans-serif;"><SPAN STYLE="font-size:30px;">1898 Leipzig – 1962 East Berlin</SPAN></SPAN></DIV><DIV STYLE="text-align:left;"><SPAN STYLE="display:inline-block; letter-spacing:0px; white-space:pre-wrap;color:#000000;font-family:Arial, Helvetica, sans-serif;"><SPAN/></SPAN></DIV><DIV STYLE="text-align:left;font-size:30px;"><SPAN STYLE="display:inline-block; letter-spacing:0px; white-space:pre-wrap;color:#000000;font-family:Arial, Helvetica, sans-serif;"><SPAN STYLE="font-size:30px;">Hanns Eisler was the son of the prominent Viennese philosopher Rudolf Eisler. The family moved from Leipzig to Vienna in 1901. Being a declared atheist, Rudolf Eisler was not appointed to a teaching position at Vienna’s University, which led to financial hardship. Hanns, his sister Elfriede (later known as Ruth Fischer), and his brother Gerhart grew up to become Marxist activists. Arnold Schoenberg considered Eisler to be one of his most gifted pupils and taught him free of charge; political and aesthetic differences, however, kept causing tensions in this special teacher-pupil relationship. Eisler’s political activism, his status as a “half-Jew,” and his musical language entailed years of exile in various countries. Eventually, he came to Hollywood. His career as a film composer took quite a different turn from that of his colleagues, but he nonetheless gained recognition and significance as a contrarian voice within the industry. In New York he first met Erich Zeisl, and it was in part upon Eisler’s recommendation that Zeisl ventured to relocate to Los Angeles. In 1948, Eisler was expelled from the United States as a suspected Communist sympathizer. He later became the composer of the national anthem of the German Democratic Republic, although he never relinquished his Austrian citizenship in a tacit expression of skepticism towards the GDR regime.</SPAN></SPAN></DIV></BODY></HTML></div>
htmlText_A568FCAB_3BE0_E8FF_41B5_BAC2C86BB0F9.html = <div style="text-align:left; color:#000; "><HTML><BODY><DIV STYLE="text-align:left;font-size:30px;"><SPAN STYLE="display:inline-block; letter-spacing:0px; white-space:pre-wrap;color:#000000;font-family:Arial, Helvetica, sans-serif;"><SPAN STYLE="font-size:30px;"><B>Hanns Eisler</B></SPAN></SPAN></DIV><DIV STYLE="text-align:left;"><SPAN STYLE="display:inline-block; letter-spacing:0px; white-space:pre-wrap;color:#000000;font-family:Arial, Helvetica, sans-serif;"><SPAN/></SPAN></DIV><DIV STYLE="text-align:left;font-size:30px;"><SPAN STYLE="display:inline-block; letter-spacing:0px; white-space:pre-wrap;color:#000000;font-family:Arial, Helvetica, sans-serif;"><SPAN STYLE="font-size:30px;">1898 Leipzig – 1962 East Berlin</SPAN></SPAN></DIV><DIV STYLE="text-align:left;"><SPAN STYLE="display:inline-block; letter-spacing:0px; white-space:pre-wrap;color:#000000;font-family:Arial, Helvetica, sans-serif;"><SPAN/></SPAN></DIV><DIV STYLE="text-align:left;font-size:30px;"><SPAN STYLE="display:inline-block; letter-spacing:0px; white-space:pre-wrap;color:#000000;font-family:Arial, Helvetica, sans-serif;"><SPAN STYLE="font-size:30px;">Hanns Eisler was the son of the prominent Viennese philosopher Rudolf Eisler. The family moved from Leipzig to Vienna in 1901. Being a declared atheist, Rudolf Eisler was not appointed to a teaching position at Vienna’s University, which led to financial hardship. Hanns, his sister Elfriede (later known as Ruth Fischer), and his brother Gerhart grew up to become Marxist activists. Arnold Schoenberg considered Eisler to be one of his most gifted pupils and taught him free of charge; political and aesthetic differences, however, kept causing tensions in this special teacher-pupil relationship. Eisler’s political activism, his status as a “half-Jew,” and his musical language entailed years of exile in various countries. Eventually, he came to Hollywood. His career as a film composer took quite a different turn from that of his colleagues, but he nonetheless gained recognition and significance as a contrarian voice within the industry. In New York he first met Erich Zeisl, and it was in part upon Eisler’s recommendation that Zeisl ventured to relocate to Los Angeles. In 1948, Eisler was expelled from the United States as a suspected Communist sympathizer. He later became the composer of the national anthem of the German Democratic Republic, although he never relinquished his Austrian citizenship in a tacit expression of skepticism towards the GDR regime.</SPAN></SPAN></DIV></BODY></HTML></div>
htmlText_0359AA38_3DDA_5A77_4195_7923A56F79B4.html = <div style="text-align:left; color:#000; "><HTML><BODY><DIV STYLE="text-align:left;font-size:30px;"><SPAN STYLE="display:inline-block; letter-spacing:0px; white-space:pre-wrap;color:#000000;font-family:Arial, Helvetica, sans-serif;"><SPAN STYLE="font-size:30px;"><B>Hanns Eisler</B></SPAN></SPAN></DIV><DIV STYLE="text-align:left;"><SPAN STYLE="display:inline-block; letter-spacing:0px; white-space:pre-wrap;color:#000000;font-family:Arial, Helvetica, sans-serif;"><SPAN/></SPAN></DIV><DIV STYLE="text-align:left;font-size:30px;"><SPAN STYLE="display:inline-block; letter-spacing:0px; white-space:pre-wrap;color:#000000;font-family:Arial, Helvetica, sans-serif;"><SPAN STYLE="font-size:30px;">1898 Leipzig – 1962 Ostberlin</SPAN></SPAN></DIV><DIV STYLE="text-align:left;"><SPAN STYLE="display:inline-block; letter-spacing:0px; white-space:pre-wrap;color:#000000;font-family:Arial, Helvetica, sans-serif;"><SPAN/></SPAN></DIV><DIV STYLE="text-align:left;font-size:30px;"><SPAN STYLE="display:inline-block; letter-spacing:0px; white-space:pre-wrap;color:#000000;font-family:Arial, Helvetica, sans-serif;"><SPAN STYLE="font-size:30px;">Hanns Eisler war der Sohn des bekannten Wiener Philosophen Rudolf Eisler. 1901 zog die Familie von Leipzig nach Wien. Als erklärter Atheist erhielt Rudolf Eisler keinen Lehrauftrag an der Universität Wien, was zu finanziellen Schwierigkeiten führte. Hanns, seine Schwester Elfriede (später bekannt als Ruth Fischer) und der Bruder Gerhart entwickelten sich zu marxistischen Aktivist:innen. Arnold Schönberg hielt Hanns Eisler für einen seiner begabtesten Schüler und unterrichtete ihn unentgeltlich. Politische und ästhetische Differenzen führten jedoch zu Spannungen in diesem besonderen Lehrer-Schüler-Verhältnis. Eislers politische Aktivitäten, sein Status als „Halbjude“ und seine Musiksprache hatten ein jahrelanges Exil in verschiedenen Ländern zur Folge. Schließlich kam er nach Hollywood. Seine Karriere beim Film verlief deutlich anders als die von Kollegen, doch als Stimme des Widerspruchs innerhalb der Filmbranche gewann er Anerkennung und Bedeutung. In New York begegnete er Erich Zeisl, und seine Empfehlung trug dazu bei, dass Zeisl den Umzug von New York nach Los Angeles wagte. 1948 wurde Hanns Eisler als mutmaßlicher Sympathisant des Kommunismus aus den Vereinigten Staaten ausgewiesen. Später komponierte er die Nationalhymne der Deutschen Demokratischen Republik, seine österreichische Staatsbürgerschaft gab er jedoch nie auf. Damit brachte er schweigend die Skepsis gegenüber der DDR-Regierung zum Ausdruck.</SPAN></SPAN></DIV></BODY></HTML></div>
htmlText_9EE5B4F2_A48B_47E3_41DF_B8339EBC23FB.html = <div style="text-align:left; color:#000; "><HTML><BODY><DIV STYLE="text-align:left;font-size:30px;"><SPAN STYLE="display:inline-block; letter-spacing:0px; white-space:pre-wrap;color:#000000;font-family:Arial, Helvetica, sans-serif;"><SPAN STYLE="font-size:30px;"><B>Hanns Eisler</B></SPAN></SPAN></DIV><DIV STYLE="text-align:left;"><SPAN STYLE="display:inline-block; letter-spacing:0px; white-space:pre-wrap;color:#000000;font-family:Arial, Helvetica, sans-serif;"><SPAN/></SPAN></DIV><DIV STYLE="text-align:left;font-size:30px;"><SPAN STYLE="display:inline-block; letter-spacing:0px; white-space:pre-wrap;color:#000000;font-family:Arial, Helvetica, sans-serif;"><SPAN STYLE="font-size:30px;"><I>Das Hollywooder Liederbuch</I></SPAN><SPAN STYLE="font-size:30px;"> (1942/43): </SPAN><SPAN STYLE="font-size:30px;"><I>An den kleinen Radioapparat</I></SPAN></SPAN></DIV><DIV STYLE="text-align:left;font-size:30px;"><SPAN STYLE="display:inline-block; letter-spacing:0px; white-space:pre-wrap;color:#000000;font-family:Arial, Helvetica, sans-serif;"><SPAN STYLE="font-size:30px;">Matthias Goerne, Bariton</SPAN></SPAN></DIV><DIV STYLE="text-align:left;font-size:30px;"><SPAN STYLE="display:inline-block; letter-spacing:0px; white-space:pre-wrap;color:#000000;font-family:Arial, Helvetica, sans-serif;"><SPAN STYLE="font-size:30px;">Eric Schneider, Klavier</SPAN></SPAN></DIV></BODY></HTML></div>
htmlText_A953AEE6_0309_CD93_417F_0BB0B16D45DA.html = <div style="text-align:left; color:#000; "><HTML><BODY><DIV STYLE="text-align:left;font-size:30px;"><SPAN STYLE="display:inline-block; letter-spacing:0px; white-space:pre-wrap;color:#000000;font-family:Arial, Helvetica, sans-serif;"><SPAN STYLE="font-size:30px;"><B>Hilde Spiel an Erich und Gertrud Zeisl, 18. April 1946:</B></SPAN></SPAN></DIV><DIV STYLE="text-align:left;font-size:30px;"><SPAN STYLE="display:inline-block; letter-spacing:0px; white-space:pre-wrap;color:#000000;font-family:Arial, Helvetica, sans-serif;"><SPAN STYLE="font-size:30px;"></SPAN></SPAN></DIV><DIV STYLE="text-align:left;font-size:30px;"><SPAN STYLE="display:inline-block; letter-spacing:0px; white-space:pre-wrap;color:#000000;font-family:Arial, Helvetica, sans-serif;"><SPAN STYLE="font-size:30px;">„Aber wenn man dann nach Döbling fährt, oder zum Heurigen geht – verstohlen, weil keine offen sind, nur wenn man ‚Beziehungen‘ hat – und wenn man so auf die Mölkerbastei schaut, oder vom halb zerbombten Belvedere herunter, greifts einem schrecklich ans Herz. Ich hab dort die wirklich wahnsinnigste Zeit meines Lebens verbracht. In englischer Uniform, furchtbar verhätschelt von den speichelleckerischen Wienern.“</SPAN></SPAN></DIV><DIV STYLE="text-align:left;"><SPAN STYLE="display:inline-block; letter-spacing:0px; white-space:pre-wrap;color:#000000;font-family:Arial, Helvetica, sans-serif;"><SPAN/></SPAN></DIV><DIV STYLE="text-align:left;"><SPAN STYLE="display:inline-block; letter-spacing:0px; white-space:pre-wrap;color:#000000;font-family:Arial, Helvetica, sans-serif;"><SPAN/></SPAN></DIV><DIV STYLE="text-align:left;font-size:30px;"><SPAN STYLE="display:inline-block; letter-spacing:0px; white-space:pre-wrap;color:#000000;font-family:Arial, Helvetica, sans-serif;"><SPAN STYLE="font-size:30px;"><B>Erich Zeisl an Hilde Spiel, 17. Mai 1946:</B></SPAN></SPAN></DIV><DIV STYLE="text-align:left;font-size:30px;"><SPAN STYLE="display:inline-block; letter-spacing:0px; white-space:pre-wrap;color:#000000;font-family:Arial, Helvetica, sans-serif;"><SPAN STYLE="font-size:30px;"></SPAN></SPAN></DIV><DIV STYLE="text-align:left;font-size:30px;"><SPAN STYLE="display:inline-block; letter-spacing:0px; white-space:pre-wrap;color:#000000;font-family:Arial, Helvetica, sans-serif;"><SPAN STYLE="font-size:30px;">„In Wien zu sein in englischer Uniform. Ich kann mir überhaupt nicht vorstellen, wie man dies aushalten kann. Ich glaube ich würde vor seelischer Erschütterung tot umfallen. Es wird noch lange dauern bis wir dies überstanden haben. […] Ich gebe den Gedanken nicht auf an Europa und sei es auch nur am Ende meines Lebens. London, oder Paris. Nach Wien würde ich lange Zeit nicht gehen. Beide Eltern verloren! Diese Wiener ‚Schleimhäute‘. Pfui Teufel!“</SPAN></SPAN></DIV><DIV STYLE="text-align:left;"><SPAN STYLE="display:inline-block; letter-spacing:0px; white-space:pre-wrap;color:#000000;font-family:Arial, Helvetica, sans-serif;"><SPAN/></SPAN></DIV><DIV STYLE="text-align:left;"><SPAN STYLE="display:inline-block; letter-spacing:0px; white-space:pre-wrap;color:#000000;font-family:Arial, Helvetica, sans-serif;"><SPAN/></SPAN></DIV><DIV STYLE="text-align:left;font-size:30px;"><SPAN STYLE="display:inline-block; letter-spacing:0px; white-space:pre-wrap;color:#000000;font-family:Arial, Helvetica, sans-serif;"><SPAN STYLE="font-size:30px;"><B>Erich Zeisl an Hilde Spiel, 1946:</B></SPAN></SPAN></DIV><DIV STYLE="text-align:left;font-size:30px;"><SPAN STYLE="display:inline-block; letter-spacing:0px; white-space:pre-wrap;color:#000000;font-family:Arial, Helvetica, sans-serif;"><SPAN STYLE="font-size:30px;"></SPAN></SPAN></DIV><DIV STYLE="text-align:left;font-size:30px;"><SPAN STYLE="display:inline-block; letter-spacing:0px; white-space:pre-wrap;color:#000000;font-family:Arial, Helvetica, sans-serif;"><SPAN STYLE="font-size:30px;">„Wir waren beide so aufgeregt, wie wir das Bild vom Grinzingerbad bekamen. Nur dass man lauter verhungerte ‚Body’s‘ sieht, erklärt die Nachkriegszeit. Ich möchte auch sehr gerne nach Wien. Es müsste aber vielmehr entnazt sein, ehe ich mir hintraute.“</SPAN></SPAN></DIV></BODY></HTML></div>
htmlText_70544183_644E_9776_41AB_BB4F571E42C1.html = <div style="text-align:left; color:#000; "><HTML><BODY><DIV STYLE="text-align:left;font-size:30px;"><SPAN STYLE="display:inline-block; letter-spacing:0px; white-space:pre-wrap;color:#000000;font-family:Arial, Helvetica, sans-serif;"><SPAN STYLE="font-size:30px;"><B>Hilde Spiel to Erich and Gertrud Zeisl, April 18, 1946:</B></SPAN></SPAN></DIV><DIV STYLE="text-align:left;font-size:30px;"><SPAN STYLE="display:inline-block; letter-spacing:0px; white-space:pre-wrap;color:#000000;font-family:Arial, Helvetica, sans-serif;"><SPAN STYLE="font-size:30px;"></SPAN></SPAN></DIV><DIV STYLE="text-align:left;font-size:30px;"><SPAN STYLE="display:inline-block; letter-spacing:0px; white-space:pre-wrap;color:#000000;font-family:Arial, Helvetica, sans-serif;"><SPAN STYLE="font-size:30px;">“But when you go to Döbling, or to a Heuriger [wine tavern]—secretly, because none are officially open unless you have ‘connections’—and when you look at the Mölkerbastei, or down from the half-bombed Belvedere, it tugs terribly at your heart. I spent the most insane time of my life there. In an English uniform, terribly pampered by those lickspittle Viennese.”</SPAN></SPAN></DIV><DIV STYLE="text-align:left;"><SPAN STYLE="display:inline-block; letter-spacing:0px; white-space:pre-wrap;color:#000000;font-family:Arial, Helvetica, sans-serif;"><SPAN/></SPAN></DIV><DIV STYLE="text-align:left;"><SPAN STYLE="display:inline-block; letter-spacing:0px; white-space:pre-wrap;color:#000000;font-family:Arial, Helvetica, sans-serif;"><SPAN/></SPAN></DIV><DIV STYLE="text-align:left;font-size:30px;"><SPAN STYLE="display:inline-block; letter-spacing:0px; white-space:pre-wrap;color:#000000;font-family:Arial, Helvetica, sans-serif;"><SPAN STYLE="font-size:30px;"><B>Erich Zeisl to Hilde Spiel, May 17, 1946:</B></SPAN></SPAN></DIV><DIV STYLE="text-align:left;font-size:30px;"><SPAN STYLE="display:inline-block; letter-spacing:0px; white-space:pre-wrap;color:#000000;font-family:Arial, Helvetica, sans-serif;"><SPAN STYLE="font-size:30px;"></SPAN></SPAN></DIV><DIV STYLE="text-align:left;font-size:30px;"><SPAN STYLE="display:inline-block; letter-spacing:0px; white-space:pre-wrap;color:#000000;font-family:Arial, Helvetica, sans-serif;"><SPAN STYLE="font-size:30px;">“To be in Vienna in an English uniform. I can’t even imagine how one could endure that. I think I would drop dead from emotional shock. It will take a long time before we can get over this. […] I don’t give up on the thought of [returning to] Europe, even if it’s only at the end of my life. London or Paris. I wouldn’t go to Vienna for a long time to come. Both parents murdered! Those Viennese ‘slimy snakes.’ Yuck, nauseating!”</SPAN></SPAN></DIV><DIV STYLE="text-align:left;"><SPAN STYLE="display:inline-block; letter-spacing:0px; white-space:pre-wrap;color:#000000;font-family:Arial, Helvetica, sans-serif;"><SPAN/></SPAN></DIV><DIV STYLE="text-align:left;"><SPAN STYLE="display:inline-block; letter-spacing:0px; white-space:pre-wrap;color:#000000;font-family:Arial, Helvetica, sans-serif;"><SPAN/></SPAN></DIV><DIV STYLE="text-align:left;font-size:30px;"><SPAN STYLE="display:inline-block; letter-spacing:0px; white-space:pre-wrap;color:#000000;font-family:Arial, Helvetica, sans-serif;"><SPAN STYLE="font-size:30px;"><B>Erich Zeisl to Hilde Spiel, 1946:</B></SPAN></SPAN></DIV><DIV STYLE="text-align:left;font-size:30px;"><SPAN STYLE="display:inline-block; letter-spacing:0px; white-space:pre-wrap;color:#000000;font-family:Arial, Helvetica, sans-serif;"><SPAN STYLE="font-size:30px;"></SPAN></SPAN></DIV><DIV STYLE="text-align:left;font-size:30px;"><SPAN STYLE="display:inline-block; letter-spacing:0px; white-space:pre-wrap;color:#000000;font-family:Arial, Helvetica, sans-serif;"><SPAN STYLE="font-size:30px;">“We were both so excited when we got the picture of the public pool in Grinzing. The fact that you only see starved bodies shows it’s post-war. I would also very much like to go to Vienna. But it would have to be much more denazified before I dare to set foot there again.”</SPAN></SPAN></DIV></BODY></HTML></div>
htmlText_0A45FC91_39E0_E8AA_41B1_1F34B786F8CA.html = <div style="text-align:left; color:#000; "><HTML><BODY><DIV STYLE="text-align:left;font-size:30px;"><SPAN STYLE="display:inline-block; letter-spacing:0px; white-space:pre-wrap;color:#000000;font-family:Arial, Helvetica, sans-serif;"><SPAN STYLE="font-size:30px;"><B>Hollywood</B></SPAN></SPAN></DIV><DIV STYLE="text-align:left;"><SPAN STYLE="display:inline-block; letter-spacing:0px; white-space:pre-wrap;color:#000000;font-family:Arial, Helvetica, sans-serif;"/></DIV><DIV STYLE="text-align:left;font-size:30px;"><SPAN STYLE="display:inline-block; letter-spacing:0px; white-space:pre-wrap;color:#000000;font-family:Arial, Helvetica, sans-serif;"><SPAN STYLE="font-size:30px;">In Los Angeles angekommen, begann Zeisl mit der Arbeit für die populären Fitzpatrick Traveltalks – landschaftsbeschreibende Kurzfilme, die nach illustrativer Musik verlangten. Dass er hier anfangs in der Gestaltung keine freie Hand hatte, verdeutlicht die Folge Picturesque Massachusetts: Für die Szenen am Wasser forderte die Produktionsleitung Walzerklänge; dem hatte er sich zu fügen. So hört man zu den Szenen um Cape Cod Künstlerleben von Johann Strauss (Sohn) und Donauwellen von Iosif Ivanovici – eine skurrile Mixtur, welche die Unsensibilität beim Anfertigen dieser Filme hörbar macht. In weiterer Folge komponierte Zeisl für viele Spielfilme; dass er bei diesen Gemeinschaftsproduktionen nie einen „credit“ bekam (eine namentliche Nennung im Abspann), verdeutlicht eine weitere gängige Praxis im „movie business“. „After the work is done you are empty like a stomac [sic] before Diner [sic]. That’s the way here!“ So Zeisls Resümee in einem Brief an Hilde Spiel. Dem anfänglichen Sehnen nach neuen Perspektiven im Filmgeschäft folgten Frustration und Desillusionierung.</SPAN></SPAN></DIV><DIV STYLE="text-align:left;"><SPAN STYLE="display:inline-block; letter-spacing:0px; white-space:pre-wrap;color:#000000;font-family:Arial, Helvetica, sans-serif;"><SPAN/></SPAN></DIV><DIV STYLE="text-align:left;"><SPAN STYLE="display:inline-block; letter-spacing:0px; white-space:pre-wrap;color:#000000;font-family:Arial, Helvetica, sans-serif;"><SPAN/></SPAN></DIV></BODY></HTML></div>
htmlText_0A39477F_39E0_D857_41B4_6632DC1B7155.html = <div style="text-align:left; color:#000; "><HTML><BODY><DIV STYLE="text-align:left;font-size:30px;"><SPAN STYLE="display:inline-block; letter-spacing:0px; white-space:pre-wrap;color:#000000;font-family:Arial, Helvetica, sans-serif;"><SPAN STYLE="font-size:30px;"><B>Hollywood</B></SPAN></SPAN></DIV><DIV STYLE="text-align:left;"><SPAN STYLE="display:inline-block; letter-spacing:0px; white-space:pre-wrap;color:#000000;font-family:Arial, Helvetica, sans-serif;"/></DIV><DIV STYLE="text-align:left;font-size:30px;"><SPAN STYLE="display:inline-block; letter-spacing:0px; white-space:pre-wrap;color:#000000;font-family:Arial, Helvetica, sans-serif;"><SPAN STYLE="font-size:30px;">Upon arriving in Los Angeles, Zeisl started his Hollywood career as a composer for the popular Fitzpatrick Traveltalks—a series of short films showcasing scenic landscapes, for which illustrative musical accompaniment was needed. What little creative freedom Zeisl was given here is illustrated by the episode on Picturesque Massachusetts. For scenes by the water, the producers insisted on waltz tunes, and Zeisl had to comply. The soundtrack to shots about Cape Cod thus was Johann Strauss Jr.’s Artist’s Life and Iosif Ivanovici’s Waves of the Danube—a bizarre mixture that reflected the lack of musical sensitivity of these productions. Zeisl went on to write music for many feature films, though he was never named in the credits, a common industry practice in collaborative projects. Summing up the experience to Hilde Spiel, he wrote: “After the work is done you are empty like a stomac [sic] before Diner [sic]. That’s the way here!” His initial hopes for new artistic opportunities in the film industry soon gave way to frustration and disillusionment.</SPAN></SPAN></DIV></BODY></HTML></div>
htmlText_445C4A40_371B_CCE1_419B_EED7D7C3B38A.html = <div style="text-align:left; color:#000; "><HTML><BODY><DIV STYLE="text-align:left;font-size:30px;"><SPAN STYLE="display:inline-block; letter-spacing:0px; white-space:pre-wrap;color:#000000;font-family:Arial, Helvetica, sans-serif;"><SPAN STYLE="font-size:30px;"><B>Hugo Kauder</B></SPAN></SPAN></DIV><DIV STYLE="text-align:left;"><SPAN STYLE="display:inline-block; letter-spacing:0px; white-space:pre-wrap;color:#000000;font-family:Arial, Helvetica, sans-serif;"><SPAN/></SPAN></DIV><DIV STYLE="text-align:left;font-size:30px;"><SPAN STYLE="display:inline-block; letter-spacing:0px; white-space:pre-wrap;color:#000000;font-family:Arial, Helvetica, sans-serif;"><SPAN STYLE="font-size:30px;">1888 Tovačov/Tobitschau (Austria-Hungary) – 1972 Bussum (Netherlands)</SPAN></SPAN></DIV><DIV STYLE="text-align:left;"><SPAN STYLE="display:inline-block; letter-spacing:0px; white-space:pre-wrap;color:#000000;font-family:Arial, Helvetica, sans-serif;"><SPAN/></SPAN></DIV><DIV STYLE="text-align:left;font-size:30px;"><SPAN STYLE="display:inline-block; letter-spacing:0px; white-space:pre-wrap;color:#000000;font-family:Arial, Helvetica, sans-serif;"><SPAN STYLE="font-size:30px;">Hugo Kauder received his basic musical education in Tovačov. He moved to Vienna in 1905 to study at the Technical College (today, University of Technology) but dropped out of the program to dedicate himself, together with Egon Lustgarten, to early music, drawing on the Collection of the Gesellschaft der Musikfreunde (Society of Friends of Music) for the purpose. From 1911 to 1917, he played violin in the orchestra of the Wiener Konzertverein, and from 1917 to 1922, he was the violist in the Gottesmann Quartet. After that, he made a living as a freelance composer, teacher and music journalist. In 1928, he was awarded the City of Vienna’s Art Prize for Music. His New Theory of Melodics and Harmonics was published by Universal Editions in 1932. Both Erich Zeisl and Julius Chajes were pupils of Kauder. In the aftermath of Austria’s annexation by Nazi Germany, Kauder’s wife and son fled to Great Britain; a little while later, he himself could leave for the Netherlands. In 1940, the now reunited family were able to immigrate to the United States, where he continued teaching and publishing, acting, among other things, as editor of the work of philosopher, writer, and photographer Ernst Fuhrmann. Despite Kauder’s association with Modernist movements, his own works were often modally colored as a consequence of his studies of early music and his later development of “Scale Theory.”</SPAN></SPAN></DIV></BODY></HTML></div>
htmlText_44D732E4_3715_5DA1_41B0_D31CFFA3257C.html = <div style="text-align:left; color:#000; "><HTML><BODY><DIV STYLE="text-align:left;font-size:30px;"><SPAN STYLE="display:inline-block; letter-spacing:0px; white-space:pre-wrap;color:#000000;font-family:Arial, Helvetica, sans-serif;"><SPAN STYLE="font-size:30px;"><B>Hugo Kauder</B></SPAN></SPAN></DIV><DIV STYLE="text-align:left;"><SPAN STYLE="display:inline-block; letter-spacing:0px; white-space:pre-wrap;color:#000000;font-family:Arial, Helvetica, sans-serif;"><SPAN/></SPAN></DIV><DIV STYLE="text-align:left;font-size:30px;"><SPAN STYLE="display:inline-block; letter-spacing:0px; white-space:pre-wrap;color:#000000;font-family:Arial, Helvetica, sans-serif;"><SPAN STYLE="font-size:30px;">1888 Tovačov/Tobitschau (Österreich-Ungarn) – 1972 Bussum (Niederlande)</SPAN></SPAN></DIV><DIV STYLE="text-align:left;"><SPAN STYLE="display:inline-block; letter-spacing:0px; white-space:pre-wrap;color:#000000;font-family:Arial, Helvetica, sans-serif;"><SPAN/></SPAN></DIV><DIV STYLE="text-align:left;font-size:30px;"><SPAN STYLE="display:inline-block; letter-spacing:0px; white-space:pre-wrap;color:#000000;font-family:Arial, Helvetica, sans-serif;"><SPAN STYLE="font-size:30px;">Hugo Kauder erhielt seine musikalische Grundausbildung in Tobitschau. 1905 zog er zum Studium an der Technischen Hochschule (heute Universität) nach Wien. Das Technikstudium brach er jedoch ab, um sich gemeinsam mit Egon Lustgarten der alten Musik zu widmen; dazu nutzten sie die Bestände der Bibliothek der Gesellschaft der Musikfreunde. Von 1911 bis 1917 war Kauder Geiger im Wiener Konzertvereins-Orchester, von 1917 bis 1922 Bratschist im Gottesmann-Quartett. Danach verdiente er seinen Lebensunterhalt als freischaffender Komponist, Lehrer und Musikjournalist. Kauder wurde 1928 mit dem Kunstpreis der Stadt Wien (Sparte Musik) ausgezeichnet, 1932 erschien bei der Universal-Edition sein Entwurf einer neuen Melodie- und Harmonielehre. Sowohl Erich Zeisl als auch Julius Chajes waren Kauders Schüler. Nach dem „Anschluss“ Österreichs an das nationalsozialistische Deutschland flüchteten Kauders Frau und sein Sohn nach Großbritannien, erst danach reiste er selbst in die Niederlande. Im Jahr 1940 gelangte die nun wiedervereinte Familie in die Vereinigten Staaten, wo Kauder weiterhin unterrichtete und publizierte. Unter anderem war er als Herausgeber der Schriften des Philosophen, Autors und Fotografen Ernst Fuhrmann tätig. Trotz Kauders Verbindung zur Moderne waren seine eigenen Werke oft modal gefärbt, was auf seine Auseinandersetzung mit der alten Musik und die spätere Ausarbeitung der „Skalentheorie“ zurückzuführen ist.</SPAN></SPAN></DIV></BODY></HTML></div>
htmlText_E441A72B_A494_C261_41D4_608594F1436B.html = <div style="text-align:left; color:#000; "><HTML><BODY><DIV STYLE="text-align:left;font-size:30px;"><SPAN STYLE="display:inline-block; letter-spacing:0px; white-space:pre-wrap;color:#000000;font-family:Arial, Helvetica, sans-serif;"><SPAN STYLE="font-size:30px;"><B>Hugo Kauder</B></SPAN></SPAN></DIV><DIV STYLE="text-align:left;font-size:30px;"><SPAN STYLE="display:inline-block; letter-spacing:0px; white-space:pre-wrap;color:#000000;font-family:Arial, Helvetica, sans-serif;"><SPAN STYLE="font-size:30px;"></SPAN></SPAN></DIV><DIV STYLE="text-align:left;font-size:30px;"><SPAN STYLE="display:inline-block; letter-spacing:0px; white-space:pre-wrap;color:#000000;font-family:Arial, Helvetica, sans-serif;"><SPAN STYLE="font-size:30px;"><I>Streichquartett Nr. 1 in c-Moll</I></SPAN><SPAN STYLE="font-size:30px;"> (1921)</SPAN></SPAN></DIV><DIV STYLE="text-align:left;font-size:30px;"><SPAN STYLE="display:inline-block; letter-spacing:0px; white-space:pre-wrap;color:#000000;font-family:Arial, Helvetica, sans-serif;"><SPAN STYLE="font-size:30px;">1. Satz: Ruhig, streng gemessen</SPAN></SPAN></DIV><DIV STYLE="text-align:left;font-size:30px;"><SPAN STYLE="display:inline-block; letter-spacing:0px; white-space:pre-wrap;color:#000000;font-family:Arial, Helvetica, sans-serif;"><SPAN STYLE="font-size:30px;">Euclid Quartett</SPAN></SPAN></DIV></BODY></HTML></div>
htmlText_9A8437C9_3BE0_58BB_41B0_884743697819.html = <div style="text-align:left; color:#000; "><HTML><BODY><DIV STYLE="text-align:left;font-size:30px;"><SPAN STYLE="display:inline-block; letter-spacing:0px; white-space:pre-wrap;color:#000000;font-family:Arial, Helvetica, sans-serif;"><SPAN STYLE="font-size:30px;"><B>Jan Kiepura and Marta Eggerth</B></SPAN></SPAN></DIV><DIV STYLE="text-align:left;"><SPAN STYLE="display:inline-block; letter-spacing:0px; white-space:pre-wrap;color:#000000;font-family:Arial, Helvetica, sans-serif;"><SPAN/></SPAN></DIV><DIV STYLE="text-align:left;font-size:30px;"><SPAN STYLE="display:inline-block; letter-spacing:0px; white-space:pre-wrap;color:#000000;font-family:Arial, Helvetica, sans-serif;"><SPAN STYLE="font-size:30px;">Kiepura: 1902 Sosnowiec (Russian Empire) – 1966 Harrison, New York </SPAN></SPAN></DIV><DIV STYLE="text-align:left;font-size:30px;"><SPAN STYLE="display:inline-block; letter-spacing:0px; white-space:pre-wrap;color:#000000;font-family:Arial, Helvetica, sans-serif;"><SPAN STYLE="font-size:30px;">Eggerth: 1912 Budapest – 2013 Rye, New York</SPAN></SPAN></DIV><DIV STYLE="text-align:left;"><SPAN STYLE="display:inline-block; letter-spacing:0px; white-space:pre-wrap;color:#000000;font-family:Arial, Helvetica, sans-serif;"><SPAN/></SPAN></DIV><DIV STYLE="text-align:left;font-size:30px;"><SPAN STYLE="display:inline-block; letter-spacing:0px; white-space:pre-wrap;color:#000000;font-family:Arial, Helvetica, sans-serif;"><SPAN STYLE="font-size:30px;">Jan Kiepura and Marta Eggerth became the “dream couple” of the opera world who, with their movie-star good looks and great talents, were successful both on the stage and the silver screen. Being “non-Aryans,” they left Europe following the annexation of Austria by Nazi Germany and went to New York, where Kiepura was under contract with the Metropolitan Opera. Before the war and after, the couple made a number of highly successful movies in Austria, Germany, France, and Italy. In 1936, Kiepura starred in Paramount’s Give Us This Night and, together with Marta Eggerth, appeared in about two thousand performances of The Merry Widow on Broadway. They were among the biggest stars to headline the Zionist collage That We May Live, which also brought music by Erich Zeisl to the stage. Though based in New York, they were frequent visitors in Los Angeles and close to the community of Central European exiles in the city, especially Erich Wolfgang Korngold, who wrote several of the hit songs in Give Us This Night.</SPAN></SPAN></DIV></BODY></HTML></div>
htmlText_BFF2ECB8_3BE0_28D9_41AB_6856F5339AA2.html = <div style="text-align:left; color:#000; "><HTML><BODY><DIV STYLE="text-align:left;font-size:30px;"><SPAN STYLE="display:inline-block; letter-spacing:0px; white-space:pre-wrap;color:#000000;font-family:Arial, Helvetica, sans-serif;"><SPAN STYLE="font-size:30px;"><B>Jan Kiepura und Marta Eggerth</B></SPAN></SPAN></DIV><DIV STYLE="text-align:left;"><SPAN STYLE="display:inline-block; letter-spacing:0px; white-space:pre-wrap;color:#000000;font-family:Arial, Helvetica, sans-serif;"><SPAN/></SPAN></DIV><DIV STYLE="text-align:left;font-size:30px;"><SPAN STYLE="display:inline-block; letter-spacing:0px; white-space:pre-wrap;color:#000000;font-family:Arial, Helvetica, sans-serif;"><SPAN STYLE="font-size:30px;">Kiepura: 1902 Sosnowiec (Russisches Kaiserreich) – 1966 Harrison, New York</SPAN></SPAN></DIV><DIV STYLE="text-align:left;font-size:30px;"><SPAN STYLE="display:inline-block; letter-spacing:0px; white-space:pre-wrap;color:#000000;font-family:Arial, Helvetica, sans-serif;"><SPAN STYLE="font-size:30px;">Eggerth: 1912 Budapest – 2013 Rye, New York</SPAN></SPAN></DIV><DIV STYLE="text-align:left;"><SPAN STYLE="display:inline-block; letter-spacing:0px; white-space:pre-wrap;color:#000000;font-family:Arial, Helvetica, sans-serif;"><SPAN/></SPAN></DIV><DIV STYLE="text-align:left;font-size:30px;"><SPAN STYLE="display:inline-block; letter-spacing:0px; white-space:pre-wrap;color:#000000;font-family:Arial, Helvetica, sans-serif;"><SPAN STYLE="font-size:30px;">Jan Kiepura und Marta Eggerth waren das „Traumpaar“ der Opernwelt, beide reüssierten mit großem Talent und perfektem Aussehen sowohl auf der Bühne als auch auf der Leinwand. Als „Nichtarier“ verließen sie Europa nach dem „Anschluss“ Österreichs und gelangten nach New York, wo Kiepura bei der Metropolitan Opera unter Vertrag stand. Vor und nach dem Krieg drehte das Paar in Österreich, Deutschland, Frankreich und Italien eine Reihe höchst erfolgreicher Filme. 1936 mimte Kiepura die Hauptrolle im Paramount-Film Give Us This Night, im Duo mit Marta Eggerth führte er Die lustige Witwe rund 2000-mal am Broadway auf. Kiepura und Eggerth zählten zu den größten Stars des zionistischen Festspiels That We May Live. Diese Collage brachte auch Musik von Erich Zeisl. Obwohl Kiepura und Eggerth in New York lebten, verbrachten sie viel Zeit in Los Angeles und standen dort der mitteleuropäischen Exilgemeinde nahe, insbesondere Erich Wolfgang Korngold, aus dessen Feder einige der „Hitsongs“ von Give Us This Night stammten.</SPAN></SPAN></DIV></BODY></HTML></div>
htmlText_4F052F33_370B_44A7_41C7_EF1C23EBB271.html = <div style="text-align:left; color:#000; "><HTML><BODY><DIV STYLE="text-align:left;font-size:30px;"><SPAN STYLE="display:inline-block; letter-spacing:0px; white-space:pre-wrap;color:#000000;font-family:Arial, Helvetica, sans-serif;"><SPAN STYLE="font-size:30px;"><B>Julius Chajes</B></SPAN></SPAN></DIV><DIV STYLE="text-align:left;"><SPAN STYLE="display:inline-block; letter-spacing:0px; white-space:pre-wrap;color:#000000;font-family:Arial, Helvetica, sans-serif;"><SPAN/></SPAN></DIV><DIV STYLE="text-align:left;font-size:30px;"><SPAN STYLE="display:inline-block; letter-spacing:0px; white-space:pre-wrap;color:#000000;font-family:Arial, Helvetica, sans-serif;"><SPAN STYLE="font-size:30px;">1910 Lwiw/Lemberg – 1985 Detroit</SPAN></SPAN></DIV><DIV STYLE="text-align:left;"><SPAN STYLE="display:inline-block; letter-spacing:0px; white-space:pre-wrap;color:#000000;font-family:Arial, Helvetica, sans-serif;"><SPAN/></SPAN></DIV><DIV STYLE="text-align:left;font-size:30px;"><SPAN STYLE="display:inline-block; letter-spacing:0px; white-space:pre-wrap;color:#000000;font-family:Arial, Helvetica, sans-serif;"><SPAN STYLE="font-size:30px;">Julius Chajes zog im Alter von zehn Jahren nach Wien. Mit neun hatte er seinen ersten Klavierabend gegeben, seitdem wurde er als Wunderkind gefeiert. Als er 15 war, führten die Wiener Symphoniker seine Romantische Phantasie für Klavier und Orchester auf. Mit Erich Zeisl verband ihn nicht nur der gemeinsame Lehrer Hugo Kauder, sondern auch die Mitwirkung bei der „Jungen Kunst“, einer interdisziplinären Gruppe von Schriftsteller:innen und Musiker:innen um den Dichter und Philosophen Fred Hernfeld (später in den Vereinigten Staaten als Alfred Farau bekannt). Chajes zog 1934 nach Israel und 1937 in die Vereinigten Staaten, ab 1940 war er als Direktor des Jewish Community Center in Detroit tätig. Seine Kompositionen zeigen sich als Synthese von „jüdischer“ und „westlicher“ Musik und sind im Stil vergleichbar mit denen von Paul Ben-Haim und seiner „Eastern Mediterranean School“. In den amerikanischen Jahren beeinflusste Chajes in dieser Hinsicht auch seinen Freund Zeisl: Beide ehemaligen „Junge Kunst“-Komponisten unterrichteten bei den Sommerkursen im Brandeis Camp Institute in Santa Susana und versuchten eine „jüdische“ Klangwelt zu schaffen, die sich nicht zu sehr auf stereotype volkstümliche oder liturgische Formeln stützte. Chajes’ Kompositionen übten einen nachhaltigen Einfluss auf die amerikanisch-jüdische Kunstmusik aus.</SPAN></SPAN></DIV></BODY></HTML></div>
htmlText_4BF50071_370D_DCA3_41B5_48AC4B6BABA9.html = <div style="text-align:left; color:#000; "><HTML><BODY><DIV STYLE="text-align:left;font-size:30px;"><SPAN STYLE="display:inline-block; letter-spacing:0px; white-space:pre-wrap;color:#000000;font-family:Arial, Helvetica, sans-serif;"><SPAN STYLE="font-size:30px;"><B>Julius Chajes</B></SPAN></SPAN></DIV><DIV STYLE="text-align:left;"><SPAN STYLE="display:inline-block; letter-spacing:0px; white-space:pre-wrap;color:#000000;font-family:Arial, Helvetica, sans-serif;"><SPAN/></SPAN></DIV><DIV STYLE="text-align:left;font-size:30px;"><SPAN STYLE="display:inline-block; letter-spacing:0px; white-space:pre-wrap;color:#000000;font-family:Arial, Helvetica, sans-serif;"><SPAN STYLE="font-size:30px;">1910 L’viv/Lemberg – 1985 Detroit</SPAN></SPAN></DIV><DIV STYLE="text-align:left;"><SPAN STYLE="display:inline-block; letter-spacing:0px; white-space:pre-wrap;color:#000000;font-family:Arial, Helvetica, sans-serif;"><SPAN/></SPAN></DIV><DIV STYLE="text-align:left;font-size:30px;"><SPAN STYLE="display:inline-block; letter-spacing:0px; white-space:pre-wrap;color:#000000;font-family:Arial, Helvetica, sans-serif;"><SPAN STYLE="font-size:30px;">Julius Chajes came to Vienna when he was ten years old. Having given his first piano recital as early as age nine, he was considered a child prodigy. When he was fifteen, the Vienna Symphony performed his Romantic Fantasy for Piano and Orchestra. He was not just a fellow composition pupil of Hugo Kauder but also belonged to Erich Zeisl’s “Young Art” circle, an interdisciplinary group of writers and musicians around the poet and philosopher Fred Hernfeld (later known in the U.S. as Alfred Farau). Chajes relocated to Israel in 1934 before leaving for America in 1937. From 1940, he was director of Detroit’s Jewish Community Center. His compositions offer a synthesis of Jewish and Western music, comparable in style to Paul Ben-Haim and his “Eastern Mediterranean School.” In those American years, he also influenced his friend Zeisl as the two former “Young Art” composers both taught summer courses at the Brandeis Camp Institute in Santa Susana, with their shared intention being to create a “Jewish” world of sound not too much based on folk-music stereotypes and liturgical formulae. Chajes’s compositions had a lasting influence on American-Jewish art music.</SPAN></SPAN></DIV></BODY></HTML></div>
htmlText_4F6332C1_370B_7DE3_41BA_8D2E3D5BAC81.html = <div style="text-align:left; color:#000; "><HTML><BODY><DIV STYLE="text-align:left;font-size:30px;"><SPAN STYLE="display:inline-block; letter-spacing:0px; white-space:pre-wrap;color:#000000;font-family:Arial, Helvetica, sans-serif;"><SPAN STYLE="font-size:30px;"><B>Julius Chajes</B></SPAN></SPAN></DIV><DIV STYLE="text-align:left;"><SPAN STYLE="display:inline-block; letter-spacing:0px; white-space:pre-wrap;color:#000000;font-family:Arial, Helvetica, sans-serif;"><SPAN/></SPAN></DIV><DIV STYLE="text-align:left;font-size:30px;"><SPAN STYLE="display:inline-block; letter-spacing:0px; white-space:pre-wrap;color:#000000;font-family:Arial, Helvetica, sans-serif;"><SPAN STYLE="font-size:30px;"><I>Israeli Melodies</I></SPAN></SPAN></DIV><DIV STYLE="text-align:left;font-size:30px;"><SPAN STYLE="display:inline-block; letter-spacing:0px; white-space:pre-wrap;color:#000000;font-family:Arial, Helvetica, sans-serif;"><SPAN STYLE="font-size:30px;">Nr. 1: </SPAN><SPAN STYLE="font-size:30px;"><I>Song of the Well</I></SPAN></SPAN></DIV><DIV STYLE="text-align:left;font-size:30px;"><SPAN STYLE="display:inline-block; letter-spacing:0px; white-space:pre-wrap;color:#000000;font-family:Arial, Helvetica, sans-serif;"><SPAN STYLE="font-size:30px;">The Chicago String Ensemble, Alan Heatherington</SPAN></SPAN></DIV></BODY></HTML></div>
htmlText_6B769DCD_644B_AEF2_41C1_BAAB0AC667F6.html = <div style="text-align:left; color:#000; "><HTML><BODY><DIV STYLE="text-align:left;font-size:30px;"><SPAN STYLE="display:inline-block; letter-spacing:0px; white-space:pre-wrap;color:#000000;font-family:Arial, Helvetica, sans-serif;"><SPAN STYLE="font-size:30px;"><B>New York, New York!</B></SPAN></SPAN></DIV><DIV STYLE="text-align:left;font-size:30px;"><SPAN STYLE="display:inline-block; letter-spacing:0px; white-space:pre-wrap;color:#000000;font-family:Arial, Helvetica, sans-serif;"><SPAN STYLE="font-size:30px;"></SPAN></SPAN></DIV><DIV STYLE="text-align:left;font-size:30px;"><SPAN STYLE="display:inline-block; letter-spacing:0px; white-space:pre-wrap;color:#000000;font-family:Arial, Helvetica, sans-serif;"><SPAN STYLE="font-size:30px;">Noch vor Ausbruch des Zweiten Weltkriegs verließen die Zeisls Europa; als Passagiere der „Volendam“ landeten sie in New York. Erstaunlich positiv verlief die erste Berührung mit dem amerikanischen Kulturleben – am 28. November 1939 wurde in The Morning Telegraph unter der Headline „Zeisl’s Music in U.S. Debut“ über den Exilösterreicher berichtet. Die nun als Little Symphony reüssierende Kleine Symphonie nach Bildern von Roswitha Bitterlich traf den amerikanischen Musikgeschmack punktgenau. Sie wurde vom Radio City Music Hall Symphony Orchestra unter der Leitung von Ernö Rapée aufgeführt. Die Sender WJZ und NBC Blue Network übertrugen im Dezember 1939 die erste US-Radioaufführung von Zeisl’scher Musik. Doch der Blick des Komponisten richtete sich auf Hollywood: Über Erwin Piscator hatte er Hanns Eisler kennengelernt, der seinen Umzug in den Westen mit einem Empfehlungsschreiben an Herbert Kline unterstützte. Realisiert wurde dieses Unterfangen schließlich durch Verhandlungen, die Hans Kafka, Drehbuchautor bei MGM in Los Angeles, mit seinem Arbeitgeber für Erich Zeisl führte. So gelangte die Familie Zeisl, nach der Geburt der Tochter Barbara in New York nun zu dritt, in die „Stadt der Engel“.</SPAN></SPAN></DIV><DIV STYLE="text-align:left;"><SPAN STYLE="display:inline-block; letter-spacing:0px; white-space:pre-wrap;color:#000000;font-family:Arial, Helvetica, sans-serif;"><SPAN/></SPAN></DIV><DIV STYLE="text-align:left;"><SPAN STYLE="display:inline-block; letter-spacing:0px; white-space:pre-wrap;color:#000000;font-family:Arial, Helvetica, sans-serif;"><SPAN/></SPAN></DIV></BODY></HTML></div>
htmlText_EEABA729_EFF7_D78B_41E0_DB8CE4B14FA4.html = <div style="text-align:left; color:#000; "><HTML><BODY><DIV STYLE="text-align:left;font-size:30px;"><SPAN STYLE="display:inline-block; letter-spacing:0px; white-space:pre-wrap;color:#000000;font-family:Arial, Helvetica, sans-serif;"><SPAN STYLE="font-size:30px;"><B>Paris</B></SPAN></SPAN></DIV><DIV STYLE="text-align:left;"><SPAN STYLE="display:inline-block; letter-spacing:0px; white-space:pre-wrap;color:#000000;font-family:Arial, Helvetica, sans-serif;"><SPAN/></SPAN></DIV><DIV STYLE="text-align:left;font-size:30px;"><SPAN STYLE="display:inline-block; letter-spacing:0px; white-space:pre-wrap;color:#000000;font-family:Arial, Helvetica, sans-serif;"><SPAN STYLE="font-size:30px;">“So, we are saved! All four boys, Trude, and my mother-in-law. What we endured these past days could fill books.” These are the opening lines of Zeisl’s first letter from Paris to Hilde Spiel in November 1938. It was a time of constant dealings with the authorities to obtain identity cards and residence permits. Composer Darius Milhaud helped the Zeisls navigate these challenges and introduced them to cultural life in Paris, which had one significant opportunity in store for Zeisl: he was commissioned to compose the incidental music for a stage production of Joseph Roth’s novel Job at the Théâtre Pigalle. It marked his first engagement with his Jewish heritage, which in Menuhim’s Song, for example, was given expression through elements like the augmented second, sigh-like appoggiaturas, and recitative sequences, all of which lent the piece something of a prayer-like character. In Paris, Zeisl met émigrés like Alma Mahler-Werfel and Hans Kafka; contacts that would later have an impact on his life in exile in the United States. In the summer of 1939, the Zeisls lived with Kafka outside Paris at the aptly named “39, route de l’Asile, Le Vésinet,” which became a meeting place for fellow artists and friends.</SPAN></SPAN></DIV></BODY></HTML></div>
htmlText_89A26718_FEBA_1037_41E5_8AFEAAE07658.html = <div style="text-align:left; color:#000; "><HTML><BODY><DIV STYLE="text-align:left;font-size:30px;"><SPAN STYLE="display:inline-block; letter-spacing:0px; white-space:pre-wrap;color:#000000;font-family:Arial, Helvetica, sans-serif;"><SPAN STYLE="font-size:30px;"><B>Paris</B></SPAN></SPAN></DIV><DIV STYLE="text-align:left;font-size:30px;"><SPAN STYLE="display:inline-block; letter-spacing:0px; white-space:pre-wrap;color:#000000;font-family:Arial, Helvetica, sans-serif;"><SPAN STYLE="font-size:30px;"></SPAN></SPAN></DIV><DIV STYLE="text-align:left;font-size:30px;"><SPAN STYLE="display:inline-block; letter-spacing:0px; white-space:pre-wrap;color:#000000;font-family:Arial, Helvetica, sans-serif;"><SPAN STYLE="font-size:30px;">„Also wir sind gerettet! Alle 4 Buben, Trude und Schwiegermutter. Was wir mitgemacht haben in diesen Tagen, darüber könnte man Bücher schreiben.“ So die ersten Zeilen, die Zeisl im November 1938 aus Paris an Hilde Spiel schickte. Es war eine Zeit ständiger Behördengänge, um eine „carte d’identité“ oder eine Aufenthaltserlaubnis zu bekommen. Darius Milhaud unterstützte die Zeisls dabei und verschaffte ihnen Zugang zum kulturellen Leben in Paris, das mit der Bühnenaufführung von Joseph Roths Roman Hiob im Théâtre Pigalle für Zeisl einiges zu bieten hatte: An ihn erging nämlich der Kompositionsauftrag für die Musik. Die Beschäftigung mit Hiob bedeutete für Zeisl die erstmalige Auseinandersetzung mit seiner jüdischen Herkunft, in Menuhim’s Song etwa dargestellt durch die oftmals betonte übermäßige Sekund, durch seufzerartige Vorhalte und rezitierende Sequenzen. All dies gibt dem Stück Gebetscharakter. Dass Zeisl in Paris Alma Mahler-Werfel und Hans Kafka kennenlernte, wirkte auch in das spätere US-Exil hinein. Mit Kafka lebten die Zeisls im Sommer 1939 außerhalb von Paris, das neue Quartier hatte die passende Adresse „39, route de l’Asile, Le Vésinet“ und wurde zum Ort der Begegnung.</SPAN></SPAN></DIV><DIV STYLE="text-align:left;"><SPAN STYLE="display:inline-block; letter-spacing:0px; white-space:pre-wrap;color:#000000;font-family:Arial, Helvetica, sans-serif;"><SPAN/></SPAN></DIV></BODY></HTML></div>
htmlText_EEAC26C8_EFF0_D689_41D3_C000B0F1618E.html = <div style="text-align:left; color:#000; "><HTML><BODY><DIV STYLE="text-align:left;font-size:30px;"><SPAN STYLE="display:inline-block; letter-spacing:0px; white-space:pre-wrap;color:#000000;font-family:Arial, Helvetica, sans-serif;"><SPAN STYLE="font-size:30px;"><B>Richard Hoffmann</B></SPAN></SPAN></DIV><DIV STYLE="text-align:left;"><SPAN STYLE="display:inline-block; letter-spacing:0px; white-space:pre-wrap;color:#000000;font-family:Arial, Helvetica, sans-serif;"><SPAN/></SPAN></DIV><DIV STYLE="text-align:left;font-size:30px;"><SPAN STYLE="display:inline-block; letter-spacing:0px; white-space:pre-wrap;color:#000000;font-family:Arial, Helvetica, sans-serif;"><SPAN STYLE="font-size:30px;">1925 in Wien geboren wurde Richard Hoffmanns musikalisches Talent früh erkannt und gefördert. Er war bei den Wiener Sängerknaben und entwickelte ein besonderes Talent für die Geige. Als Geschenk seines Vaters zum 9. Geburtstag erhielt er Kompositionsunterricht beim später international erfolgreichen Dirigenten Georg Tintner. </SPAN></SPAN></DIV><DIV STYLE="text-align:left;font-size:30px;"><SPAN STYLE="display:inline-block; letter-spacing:0px; white-space:pre-wrap;color:#000000;font-family:Arial, Helvetica, sans-serif;"><SPAN STYLE="font-size:30px;">Bedingt durch die politischen Umstände in Wien entschied sich die jüdische Familie Hoffmann 1935 zur Immigration nach Neuseeland. Auch Georg Tintner musste Österreich verlassen und konnte schließlich mit Hilfe der Familie Hoffmann Neuseeland erreichen. Nachdem Hoffmann den ersten Studienabschnitt an der University of New Zealand abschloss, zog es ihn 1947 nach Kalifornien, um bei Arnold Schönberg Komposition zu studieren. Nicht nur aufgrund des entfernten Verwandtschaftsverhältnisses – Schönberg war ein angeheirateter Cousin – entstand zwischen Hoffmann und Schönberg eine enge freundschaftliche und musikalische Beziehung. Hoffmann sah sich zeitlebens als Schüler Schönbergs und Verbreiter von dessen Lehre, fand aber trotzdem seinen eigenen Kompositionsstil, experimentierte und entwickelte diesen weiter.  </SPAN></SPAN></DIV><DIV STYLE="text-align:left;font-size:30px;"><SPAN STYLE="display:inline-block; letter-spacing:0px; white-space:pre-wrap;color:#000000;font-family:Arial, Helvetica, sans-serif;"><SPAN STYLE="font-size:30px;">Richard Hoffmann war Arnold Schönbergs Assistent bis zu dessen Tod 1951. Er unterrichtete wie sein Mentor an der University of California Los Angeles (UCLA), und übernahm 1954 eine Professur am Oberlin College, Ohio. Jahrelang veranstaltete er Seminare im Mödlinger Schönberg-Haus und brachte jedes Jahr eine Gruppe amerikanischer Studierenden nach Österreich. Richard Hoffmann starb 2021 in Oberlin, Ohio, USA.</SPAN></SPAN></DIV></BODY></HTML></div>
htmlText_46DE6196_371A_BC61_41C6_ACFF27438E31.html = <div style="text-align:left; color:#000; "><HTML><BODY><DIV STYLE="text-align:left;font-size:30px;"><SPAN STYLE="display:inline-block; letter-spacing:0px; white-space:pre-wrap;color:#000000;font-family:Arial, Helvetica, sans-serif;"><SPAN STYLE="font-size:30px;"><B>Richard Stöhr/Stoehr</B></SPAN></SPAN></DIV><DIV STYLE="text-align:left;"><SPAN STYLE="display:inline-block; letter-spacing:0px; white-space:pre-wrap;color:#000000;font-family:Arial, Helvetica, sans-serif;"><SPAN/></SPAN></DIV><DIV STYLE="text-align:left;font-size:30px;"><SPAN STYLE="display:inline-block; letter-spacing:0px; white-space:pre-wrap;color:#000000;font-family:Arial, Helvetica, sans-serif;"><SPAN STYLE="font-size:30px;">1874 Vienna – 1967 Montpellier, Vermont</SPAN></SPAN></DIV><DIV STYLE="text-align:left;"><SPAN STYLE="display:inline-block; letter-spacing:0px; white-space:pre-wrap;color:#000000;font-family:Arial, Helvetica, sans-serif;"><SPAN/></SPAN></DIV><DIV STYLE="text-align:left;font-size:30px;"><SPAN STYLE="display:inline-block; letter-spacing:0px; white-space:pre-wrap;color:#000000;font-family:Arial, Helvetica, sans-serif;"><SPAN STYLE="font-size:30px;">Born in the same year and city as Arnold Schoenberg and, like the latter, the author of a Theory of Harmonics, Richard Stöhr was, stylistically speaking, a distinct antipode to Schoenberg. Stöhr studied composition with Robert Fuchs at the Vienna Music Academy (today, mdw—University of Music and Performing Arts Vienna); Fuchs was also the teacher of Gustav Mahler, Alexander Zemlinsky, Franz Schreker, and, if briefly, of Erich Wolfgang Korngold and Ernst Toch. Stöhr soon advanced to be one of the Academy’s foremost professors of composition and music theory, as well as a composer seeing his works frequently performed. In a letter of recommendation, he called Erich Zeisl the “most gifted” of his pupils. Stöhr fled from the Nazis in 1939 and went to the United States, where he taught at the Curtis Institute of Music in Philadelphia until 1941. From there, he moved to Vermont, where he continued to work as a composer and teacher of German and music.</SPAN></SPAN></DIV></BODY></HTML></div>
htmlText_AFBB6B2A_3AA2_D7B9_4173_025A8DA1AFA7.html = <div style="text-align:left; color:#000; "><HTML><BODY><DIV STYLE="text-align:left;font-size:30px;"><SPAN STYLE="display:inline-block; letter-spacing:0px; white-space:pre-wrap;color:#000000;font-family:Arial, Helvetica, sans-serif;"><SPAN STYLE="font-size:30px;"><B>Richard Stöhr/Stoehr</B></SPAN></SPAN></DIV><DIV STYLE="text-align:left;"><SPAN STYLE="display:inline-block; letter-spacing:0px; white-space:pre-wrap;color:#000000;font-family:Arial, Helvetica, sans-serif;"><SPAN/></SPAN></DIV><DIV STYLE="text-align:left;font-size:30px;"><SPAN STYLE="display:inline-block; letter-spacing:0px; white-space:pre-wrap;color:#000000;font-family:Arial, Helvetica, sans-serif;"><SPAN STYLE="font-size:30px;">1874 Wien – 1967 Montpellier, Vermont</SPAN></SPAN></DIV><DIV STYLE="text-align:left;"><SPAN STYLE="display:inline-block; letter-spacing:0px; white-space:pre-wrap;color:#000000;font-family:Arial, Helvetica, sans-serif;"><SPAN/></SPAN></DIV><DIV STYLE="text-align:left;font-size:30px;"><SPAN STYLE="display:inline-block; letter-spacing:0px; white-space:pre-wrap;color:#000000;font-family:Arial, Helvetica, sans-serif;"><SPAN STYLE="font-size:30px;">Im selben Jahr und in derselben Stadt wie Arnold Schönberg geboren und ebenso wie er Autor einer Harmonielehre, war Richard Stöhr stilistisch ausgesprochen konträr zu Schönberg. Er studierte Komposition bei Robert Fuchs an der Musikakademie in Wien (heute mdw). Fuchs war auch der Lehrer von Gustav Mahler, Alexander Zemlinsky, Franz Schreker und kurzzeitig Erich Wolfgang Korngold und Ernst Toch. Stöhr avancierte zu einem der bedeutendsten Kompositions- und Theorieprofessoren der Akademie, seine Werke wurden vielfach aufgeführt. In einem Empfehlungsschreiben bezeichnete er Erich Zeisl als den „begabtesten“ seiner Schüler. 1939 flüchtete Richard Stöhr vor den Nationalsozialisten in die Vereinigten Staaten, wo er bis 1941 am Curtis Institute of Music in Philadelphia lehrte. Von dort zog er nach Vermont; er komponierte weiterhin und unterrichtete Deutsch und Musik.</SPAN></SPAN></DIV></BODY></HTML></div>
htmlText_41CE316B_370A_BCA7_4194_584DC7E9A064.html = <div style="text-align:left; color:#000; "><HTML><BODY><DIV STYLE="text-align:left;font-size:30px;"><SPAN STYLE="display:inline-block; letter-spacing:0px; white-space:pre-wrap;color:#000000;font-family:Arial, Helvetica, sans-serif;"><SPAN STYLE="font-size:30px;"><B>Richard Stöhr</B></SPAN></SPAN></DIV><DIV STYLE="text-align:left;font-size:30px;"><SPAN STYLE="display:inline-block; letter-spacing:0px; white-space:pre-wrap;color:#000000;font-family:Arial, Helvetica, sans-serif;"><SPAN STYLE="font-size:30px;"></SPAN></SPAN></DIV><DIV STYLE="text-align:left;font-size:30px;"><SPAN STYLE="display:inline-block; letter-spacing:0px; white-space:pre-wrap;color:#000000;font-family:Arial, Helvetica, sans-serif;"><SPAN STYLE="font-size:30px;"><I>Concerto im alten Stil</I></SPAN><SPAN STYLE="font-size:30px;">, op. 68 (1937)</SPAN></SPAN></DIV><DIV STYLE="text-align:left;font-size:30px;"><SPAN STYLE="display:inline-block; letter-spacing:0px; white-space:pre-wrap;color:#000000;font-family:Arial, Helvetica, sans-serif;"><SPAN STYLE="font-size:30px;">1. Satz: Intrata. Allegro giusto</SPAN></SPAN></DIV><DIV STYLE="text-align:left;font-size:30px;"><SPAN STYLE="display:inline-block; letter-spacing:0px; white-space:pre-wrap;color:#000000;font-family:Arial, Helvetica, sans-serif;"><SPAN STYLE="font-size:30px;">Sinfonia Varsovia, Ian Hobson</SPAN></SPAN></DIV><DIV STYLE="text-align:left;font-size:30px;"><SPAN STYLE="display:inline-block; letter-spacing:0px; white-space:pre-wrap;color:#000000;font-family:Arial, Helvetica, sans-serif;"><SPAN STYLE="font-size:30px;">Agnieszka Kopacka, Klavier</SPAN></SPAN></DIV></BODY></HTML></div>
htmlText_4F88AB5A_3715_4CE1_41CA_93588F19A82E.html = <div style="text-align:left; color:#000; "><HTML><BODY><DIV STYLE="text-align:left;font-size:30px;"><SPAN STYLE="display:inline-block; letter-spacing:0px; white-space:pre-wrap;color:#000000;font-family:Arial, Helvetica, sans-serif;"><SPAN STYLE="font-size:30px;"><B>Rudolf Kolisch</B></SPAN></SPAN></DIV><DIV STYLE="text-align:left;"><SPAN STYLE="display:inline-block; letter-spacing:0px; white-space:pre-wrap;color:#000000;font-family:Arial, Helvetica, sans-serif;"><SPAN/></SPAN></DIV><DIV STYLE="text-align:left;font-size:30px;"><SPAN STYLE="display:inline-block; letter-spacing:0px; white-space:pre-wrap;color:#000000;font-family:Arial, Helvetica, sans-serif;"><SPAN STYLE="font-size:30px;">1896 Klamm (Österreich-Ungarn) – 1978 Watertown, Massachusetts</SPAN></SPAN></DIV><DIV STYLE="text-align:left;"><SPAN STYLE="display:inline-block; letter-spacing:0px; white-space:pre-wrap;color:#000000;font-family:Arial, Helvetica, sans-serif;"><SPAN/></SPAN></DIV><DIV STYLE="text-align:left;font-size:30px;"><SPAN STYLE="display:inline-block; letter-spacing:0px; white-space:pre-wrap;color:#000000;font-family:Arial, Helvetica, sans-serif;"><SPAN STYLE="font-size:30px;">Rudolf Kolisch studierte Violine bei Otakar Ševčík und Komposition bei Franz Schreker an der Musikakademie in Wien (heute mdw). An der Universität Wien belegte er Musikwissenschaft bei Guido Adler; bei seinem späteren Schwager Arnold Schönberg war er Privatschüler für Komposition. Kolischs Engagement für Schönbergs „Verein für musikalische Privataufführungen“ hatte die Gründung des Wiener Streichquartetts zur Folge, das später als Kolisch-Quartett musizierte und auf Werke der Zweiten Wiener Schule spezialisiert war. Viele wichtige Werke von Schönberg, Webern und Berg brachte das Kolisch-Quartett zur Uraufführung, Bedeutung erlangte das Ensemble auch durch die Ersteinspielung aller Quartette Schönbergs. 1942 gelang Rudolf Kolisch die Flucht in die Vereinigten Staaten, wo er von 1944 bis 1965 Primgeiger im Pro Arte Quartet war. Er galt als gesuchte Autorität im Feld der Aufführungspraxis der Zweiten Wiener Schule, lehrte international und leitete zuletzt die Kammermusikabteilung des New England Conservatory of Music in Boston.</SPAN></SPAN></DIV></BODY></HTML></div>
htmlText_993975CC_A48D_4627_41D8_289B24DB2341.html = <div style="text-align:left; color:#000; "><HTML><BODY><DIV STYLE="text-align:left;font-size:30px;"><SPAN STYLE="display:inline-block; letter-spacing:0px; white-space:pre-wrap;color:#000000;font-family:Arial, Helvetica, sans-serif;"><SPAN STYLE="font-size:30px;"><B>Rudolf Kolisch</B></SPAN></SPAN></DIV><DIV STYLE="text-align:left;"><SPAN STYLE="display:inline-block; letter-spacing:0px; white-space:pre-wrap;color:#000000;font-family:Arial, Helvetica, sans-serif;"><SPAN/></SPAN></DIV><DIV STYLE="text-align:left;font-size:30px;"><SPAN STYLE="display:inline-block; letter-spacing:0px; white-space:pre-wrap;color:#000000;font-family:Arial, Helvetica, sans-serif;"><SPAN STYLE="font-size:30px;">Arnold Schönberg: </SPAN></SPAN></DIV><DIV STYLE="text-align:left;font-size:30px;"><SPAN STYLE="display:inline-block; letter-spacing:0px; white-space:pre-wrap;color:#000000;font-family:Arial, Helvetica, sans-serif;"><SPAN STYLE="font-size:30px;"><I>Streichquartett Nr. 4</I></SPAN><SPAN STYLE="font-size:30px;">, op. 37 (1936)</SPAN></SPAN></DIV><DIV STYLE="text-align:left;font-size:30px;"><SPAN STYLE="display:inline-block; letter-spacing:0px; white-space:pre-wrap;color:#000000;font-family:Arial, Helvetica, sans-serif;"><SPAN STYLE="font-size:30px;">1. Satz: Allegro molto; energico</SPAN></SPAN></DIV><DIV STYLE="text-align:left;font-size:30px;"><SPAN STYLE="display:inline-block; letter-spacing:0px; white-space:pre-wrap;color:#000000;font-family:Arial, Helvetica, sans-serif;"><SPAN STYLE="font-size:30px;">Kolisch Quartett</SPAN></SPAN></DIV></BODY></HTML></div>
htmlText_58ADDDD4_3820_28A9_41B9_227D8497FF73.html = <div style="text-align:left; color:#000; "><HTML><BODY><DIV STYLE="text-align:left;font-size:30px;"><SPAN STYLE="display:inline-block; letter-spacing:0px; white-space:pre-wrap;color:#000000;font-family:Arial, Helvetica, sans-serif;"><SPAN STYLE="font-size:30px;"><B>That we may live</B></SPAN></SPAN></DIV><DIV STYLE="text-align:left;"><SPAN STYLE="display:inline-block; letter-spacing:0px; white-space:pre-wrap;color:#000000;font-family:Arial, Helvetica, sans-serif;"><SPAN/></SPAN></DIV><DIV STYLE="text-align:left;font-size:30px;"><SPAN STYLE="display:inline-block; letter-spacing:0px; white-space:pre-wrap;color:#000000;font-family:Arial, Helvetica, sans-serif;"><SPAN STYLE="font-size:30px;">“It is so refreshing to find a composer in Hollywood who can still divorce himself from the false glitter of film music and devote his spare time to writing music to a religious text,” read a review after the premiere of Zeisl’s Requiem Ebraico in April 1945. Zeisl had been working on a setting of Psalm 92 when he learned of the murder of his father and stepmother in the extermination camp in Treblinka. The piece, which he entitled Requiem Ebraico, was dedicated to the memory of his father and the other victims of the Jewish tragedy in Europe. With this work, Zeisl continued on the stylistic path he had taken since Job, reaffirming his position on the American-Jewish art music scene. One vibrant expression of the spirit of exiled European-Jewish artists was the Palestine-themed variety show That we may live, which featured an impressive roster of stars—from Erich Wolfgang Korngold and Jakob Gimpel to Jan Kiepura and Zeisl himself—and closed with the epilogue Before the Gates of Palestine. Another testament to Zeisl’s dedication to Jewish identity was his work at the Brandeis Music Camp. From 1948 to 1950, he served as “composer in residence” during the summer months. Music director Max Helfman described the camp as a sort of “Hebrew Tanglewood” in that it followed the example of Leonard Bernstein’s highly popular courses at Tanglewood aiming for broad public attention and, above all, the establishing of lively contacts with young musicians.</SPAN></SPAN></DIV></BODY></HTML></div>
htmlText_A43F86AA_F2FF_CC95_41E9_B9BC8BD8A817.html = <div style="text-align:left; color:#000; "><HTML><BODY><DIV STYLE="text-align:left;font-size:30px;"><SPAN STYLE="display:inline-block; letter-spacing:0px; white-space:pre-wrap;color:#000000;font-family:Arial, Helvetica, sans-serif;"><SPAN STYLE="font-size:30px;"><B>That we may live</B></SPAN></SPAN></DIV><DIV STYLE="text-align:left;"><SPAN STYLE="display:inline-block; letter-spacing:0px; white-space:pre-wrap;color:#000000;font-family:Arial, Helvetica, sans-serif;"><SPAN/></SPAN></DIV><DIV STYLE="text-align:left;font-size:30px;"><SPAN STYLE="display:inline-block; letter-spacing:0px; white-space:pre-wrap;color:#000000;font-family:Arial, Helvetica, sans-serif;"><SPAN STYLE="font-size:30px;">„It is so refreshing to find a composer in Hollywood who can still divorce himself from the false glitter of film music and devote his spare time to writing music to a religious text.“ So lautete eine Rezension zur Uraufführung von Zeisls Requiem Ebraico im April 1945. Zeisl arbeitete an der Vertonung von Psalm 92, als er von der Ermordung seines Vaters und seiner Stiefmutter im Vernichtungslager Treblinka erfuhr. Das daraufhin als Requiem Ebraico bezeichnete Werk widmete er der Erinnerung an seinen Vater und an die anderen unzähligen Opfer der jüdischen Tragödie in Europa. In diesem Stück verfolgte Zeisl den mit Hiob eingeschlagenen Weg der neuen Stilistik weiter und bekräftigte seine Zugehörigkeit zur Szene amerikanisch-jüdischer Kunstmusik. Ein schillerndes Lebenszeichen vertriebener europäisch-jüdischer Kunstschaffender war das Palästina-Spektakel That we may live: Ein Großaufgebot an Stars von Erich Wolfgang Korngold über Jakob Gimpel und Jan Kiepura bis hin zu Zeisl war an diesem Potpourri beteiligt, das mit dem Epilog Before the Gates of Palestine endete. Ein weiterer Ausdruck der Identifikation mit dem Judentum war Zeisls Wirken am Brandeis Music Camp: Von 1948 bis 1950 war er dort in den Sommermonaten „composer in residence“. Als eine Art „Hebrew Tanglewood“ sah der Musikdirektor Max Helfman dieses Camp, das in der Breitenwirkung und vor allem im lebendigen Kontakt zur Jugend an Leonard Bernsteins hochpopulären Kursen in Tanglewood orientiert war.</SPAN></SPAN></DIV><DIV STYLE="text-align:left;"><SPAN STYLE="display:inline-block; letter-spacing:0px; white-space:pre-wrap;color:#000000;font-family:Arial, Helvetica, sans-serif;"><SPAN/></SPAN></DIV><DIV STYLE="text-align:left;"><SPAN STYLE="display:inline-block; letter-spacing:0px; white-space:pre-wrap;color:#000000;font-family:Arial, Helvetica, sans-serif;"><SPAN/></SPAN></DIV></BODY></HTML></div>
htmlText_4554985F_3860_6857_41C4_82D5BC8B8CD4.html = <div style="text-align:left; color:#000; "><HTML><BODY><DIV STYLE="text-align:left;font-size:30px;"><SPAN STYLE="display:inline-block; letter-spacing:0px; white-space:pre-wrap;color:#000000;font-family:Arial, Helvetica, sans-serif;"><SPAN STYLE="font-size:30px;"><B>Walter Arlen (Aptowitzer) </B></SPAN></SPAN></DIV><DIV STYLE="text-align:left;"><SPAN STYLE="display:inline-block; letter-spacing:0px; white-space:pre-wrap;color:#000000;font-family:Arial, Helvetica, sans-serif;"><SPAN/></SPAN></DIV><DIV STYLE="text-align:left;font-size:30px;"><SPAN STYLE="display:inline-block; letter-spacing:0px; white-space:pre-wrap;color:#000000;font-family:Arial, Helvetica, sans-serif;"><SPAN STYLE="font-size:30px;">1920 Vienna – 2023 Los Angeles</SPAN></SPAN></DIV><DIV STYLE="text-align:left;"><SPAN STYLE="display:inline-block; letter-spacing:0px; white-space:pre-wrap;color:#000000;font-family:Arial, Helvetica, sans-serif;"><SPAN/></SPAN></DIV><DIV STYLE="text-align:left;font-size:30px;"><SPAN STYLE="display:inline-block; letter-spacing:0px; white-space:pre-wrap;color:#000000;font-family:Arial, Helvetica, sans-serif;"><SPAN STYLE="font-size:30px;">Walter Arlen (born Aptowitzer) came from a wealthy Viennese merchant family. The Schubert scholar Otto Erich Deutsch established that the six-year-old Walter had absolute pitch. His best friend in school, Paul Hamburger, later, in British exile, an acclaimed accompanist and chamber musician, was regarded by Arlen as his most important teacher and mentor during their senior high-school years. Even before taking his school-leaving Matura exam, he fled from Vienna with help from distant relatives in Chicago following Austria’s annexation by Germany in March 1938. Upon arrival in the U.S., he changed his name to “Arlen.” Relocating to Los Angeles and being integrated in the city’s Austro-German diaspora brought him in contact with the Zeisls. Arlen then went on to become a leading music critic for the Los Angeles Times while establishing and for a long time chairing the music department at the city’s Loyola Marymount University. Only in the last decade of his life did his considerable oeuvre of composition come to light, much of which has been recorded and today is part of the holdings of the Vienna Municipal Library and the Exilarte Center.</SPAN></SPAN></DIV><DIV STYLE="text-align:left;"><SPAN STYLE="display:inline-block; letter-spacing:0px; white-space:pre-wrap;color:#000000;font-family:Arial, Helvetica, sans-serif;"><SPAN/></SPAN></DIV><DIV STYLE="text-align:left;"><SPAN STYLE="display:inline-block; letter-spacing:0px; white-space:pre-wrap;color:#000000;font-family:Arial, Helvetica, sans-serif;"><SPAN/></SPAN></DIV></BODY></HTML></div>
htmlText_B828C603_3860_3BAF_41A9_B44D43C7F3C9.html = <div style="text-align:left; color:#000; "><HTML><BODY><DIV STYLE="text-align:left;font-size:30px;"><SPAN STYLE="display:inline-block; letter-spacing:0px; white-space:pre-wrap;color:#000000;font-family:Arial, Helvetica, sans-serif;"><SPAN STYLE="font-size:30px;"><B>Walter Arlen (Aptowitzer) </B></SPAN></SPAN></DIV><DIV STYLE="text-align:left;"><SPAN STYLE="display:inline-block; letter-spacing:0px; white-space:pre-wrap;color:#000000;font-family:Arial, Helvetica, sans-serif;"><SPAN/></SPAN></DIV><DIV STYLE="text-align:left;font-size:30px;"><SPAN STYLE="display:inline-block; letter-spacing:0px; white-space:pre-wrap;color:#000000;font-family:Arial, Helvetica, sans-serif;"><SPAN STYLE="font-size:30px;">1920 Wien – 2023 Los Angeles</SPAN></SPAN></DIV><DIV STYLE="text-align:left;"><SPAN STYLE="display:inline-block; letter-spacing:0px; white-space:pre-wrap;color:#000000;font-family:Arial, Helvetica, sans-serif;"><SPAN/></SPAN></DIV><DIV STYLE="text-align:left;font-size:30px;"><SPAN STYLE="display:inline-block; letter-spacing:0px; white-space:pre-wrap;color:#000000;font-family:Arial, Helvetica, sans-serif;"><SPAN STYLE="font-size:30px;">Walter Arlen (geb. Aptowitzer) entstammte einer wohlhabenden Wiener Kaufmannsfamilie. Er war gerade erst sechs Jahre alt, als der Schubert-Forscher Otto Erich Deutsch sein absolutes Gehör feststellte. Walters bester Schulfreund war der später im britischen Exil gefeierte Liedbegleiter und Kammermusiker Paul Hamburger; ihn betrachtete er während der Gymnasialzeit als wichtigsten Lehrer und Mentor. Noch bevor er die Matura ablegen konnte, flüchtete er nach dem im März 1938 vollzogenen „Anschluss“ Österreichs mithilfe entfernter Verwandter nach Chicago. In den Vereinigten Staaten angekommen, änderte er seinen Namen zu „Arlen“. Die anschließende Übersiedlung nach Los Angeles und die Integration in die dortigen deutsch-österreichischen Exilkreise brachten ihn in Kontakt mit den Zeisls. Arlen avancierte zu einem der führenden Musikkritiker der Los Angeles Times und gründete die Musikabteilung an der Loyola Marymount University in Los Angeles, die er lange leitete. Erst in seinem letzten Lebensjahrzehnt kam Walter Arlens beachtliches kompositorisches Schaffen zum Vorschein. Ein Großteil davon wurde eingespielt und ist heute Teil der Bestände der Wienbibliothek im Rathaus und des Exilarte Zentrums.</SPAN></SPAN></DIV></BODY></HTML></div>
htmlText_4C4F70FC_3820_D859_41AA_69B6B50B5366.html = <div style="text-align:left; color:#000; "><HTML><BODY><DIV STYLE="text-align:left;font-size:30px;"><SPAN STYLE="display:inline-block; letter-spacing:0px; white-space:pre-wrap;color:#000000;font-family:Arial, Helvetica, sans-serif;"><SPAN STYLE="font-size:30px;"><B>Walter Arlen</B></SPAN></SPAN></DIV><DIV STYLE="text-align:left;font-size:30px;"><SPAN STYLE="display:inline-block; letter-spacing:0px; white-space:pre-wrap;color:#000000;font-family:Arial, Helvetica, sans-serif;"><SPAN STYLE="font-size:30px;"><I>The Poet in Exile</I></SPAN></SPAN></DIV><DIV STYLE="text-align:left;font-size:30px;"><SPAN STYLE="display:inline-block; letter-spacing:0px; white-space:pre-wrap;color:#000000;font-family:Arial, Helvetica, sans-serif;"><SPAN STYLE="font-size:30px;">Nr. 2: </SPAN><SPAN STYLE="font-size:30px;"><I>Island</I></SPAN></SPAN></DIV><DIV STYLE="text-align:left;font-size:30px;"><SPAN STYLE="display:inline-block; letter-spacing:0px; white-space:pre-wrap;color:#000000;font-family:Arial, Helvetica, sans-serif;"><SPAN STYLE="font-size:30px;">Christian Immler, Bariton</SPAN></SPAN></DIV><DIV STYLE="text-align:left;font-size:30px;"><SPAN STYLE="display:inline-block; letter-spacing:0px; white-space:pre-wrap;color:#000000;font-family:Arial, Helvetica, sans-serif;"><SPAN STYLE="font-size:30px;">Danny Driver, Klavier</SPAN></SPAN></DIV></BODY></HTML></div>
htmlText_5BE0DD19_3717_4463_41A4_DFFDFEDF551F.html = <div style="text-align:left; color:#000; "><HTML><BODY><DIV STYLE="text-align:left;font-size:30px;"><SPAN STYLE="display:inline-block; letter-spacing:0px; white-space:pre-wrap;color:#000000;font-family:Arial, Helvetica, sans-serif;"><SPAN STYLE="font-size:30px;"><B>Walter Bricht </B></SPAN></SPAN></DIV><DIV STYLE="text-align:left;"><SPAN STYLE="display:inline-block; letter-spacing:0px; white-space:pre-wrap;color:#000000;font-family:Arial, Helvetica, sans-serif;"><SPAN/></SPAN></DIV><DIV STYLE="text-align:left;font-size:30px;"><SPAN STYLE="display:inline-block; letter-spacing:0px; white-space:pre-wrap;color:#000000;font-family:Arial, Helvetica, sans-serif;"><SPAN STYLE="font-size:30px;">1904 Wien – 1970 Bloomington, Indiana</SPAN></SPAN></DIV><DIV STYLE="text-align:left;"><SPAN STYLE="display:inline-block; letter-spacing:0px; white-space:pre-wrap;color:#000000;font-family:Arial, Helvetica, sans-serif;"><SPAN/></SPAN></DIV><DIV STYLE="text-align:left;font-size:30px;"><SPAN STYLE="display:inline-block; letter-spacing:0px; white-space:pre-wrap;color:#000000;font-family:Arial, Helvetica, sans-serif;"><SPAN STYLE="font-size:30px;">Walter Bricht galt als der begabteste Schüler Franz Schmidts. Schon in jungen Jahren trat er in Wien häufig als Pianist, Komponist, Dirigent und Organist auf. Gefördert durch den Dirigenten Leopold Reichwein, wurden Brichts Orchesterwerke im gesamten nationalsozialistischen Deutschland aufgeführt, zu einer Zeit, als Erich Zeisl als Jude auf der schwarzen Liste stand. Die geplante Uraufführung von Brichts Zweitem Klavierkonzert und seiner Symphonie in a-Moll op. 33 mit den Wiener Philharmonikern unter Clemens Krauss wurde unterbunden, als sich herausstellte, dass der Komponist, ohne es selbst zu wissen, gemäß den NS-„Rassegesetzen“ jüdisch war. Walter Bricht stand Paul Wittgenstein nahe, in dessen Auftrag er Kammer- und Solowerke für die linke Hand schuf. Eines dieser Werke vollendete er nach seiner Ankunft in den Vereinigten Staaten. Im Gegensatz zu Zeisl verlor Walter Bricht in der US-Exilheimat die Motivation zum Komponieren; erst in seinen letzten Lebensjahren, als er bereits an der School of Music der Indiana University in Bloomington unterrichtete, schrieb er wieder Musik.</SPAN></SPAN></DIV></BODY></HTML></div>
htmlText_E4AC3E6F_A495_42E1_41C1_A546650BFAE6.html = <div style="text-align:left; color:#000; "><HTML><BODY><DIV STYLE="text-align:left;font-size:30px;"><SPAN STYLE="display:inline-block; letter-spacing:0px; white-space:pre-wrap;color:#000000;font-family:Arial, Helvetica, sans-serif;"><SPAN STYLE="font-size:30px;"><B>Walter Bricht </B></SPAN></SPAN></DIV><DIV STYLE="text-align:left;"><SPAN STYLE="display:inline-block; letter-spacing:0px; white-space:pre-wrap;color:#000000;font-family:Arial, Helvetica, sans-serif;"><SPAN/></SPAN></DIV><DIV STYLE="text-align:left;font-size:30px;"><SPAN STYLE="display:inline-block; letter-spacing:0px; white-space:pre-wrap;color:#000000;font-family:Arial, Helvetica, sans-serif;"><SPAN STYLE="font-size:30px;"><I>Symphonische Suite in a-Moll</I></SPAN><SPAN STYLE="font-size:30px;">, op. 25 (1931)</SPAN></SPAN></DIV><DIV STYLE="text-align:left;font-size:30px;"><SPAN STYLE="display:inline-block; letter-spacing:0px; white-space:pre-wrap;color:#000000;font-family:Arial, Helvetica, sans-serif;"><SPAN STYLE="font-size:30px;">1. Satz: Unruhig bewegt, schwankend</SPAN></SPAN></DIV><DIV STYLE="text-align:left;font-size:30px;"><SPAN STYLE="display:inline-block; letter-spacing:0px; white-space:pre-wrap;color:#000000;font-family:Arial, Helvetica, sans-serif;"><SPAN STYLE="font-size:30px;">Fort Wayne Philharmonic, Andrew Constantine</SPAN></SPAN></DIV></BODY></HTML></div>
htmlText_B7EB368B_2E66_BFA5_419E_64BA3CA2464D.html = <div style="text-align:left; color:#000; "><HTML><BODY><DIV STYLE="text-align:left;font-size:30px;"><SPAN STYLE="display:inline-block; letter-spacing:0px; white-space:pre-wrap;color:#000000;font-family:Arial, Helvetica, sans-serif;"><SPAN STYLE="font-size:30px;"><B>Zeisls künstlerische Kreise in Wien</B></SPAN></SPAN></DIV><DIV STYLE="text-align:left;"><SPAN STYLE="display:inline-block; letter-spacing:0px; white-space:pre-wrap;color:#000000;font-family:Arial, Helvetica, sans-serif;"><SPAN/></SPAN></DIV><DIV STYLE="text-align:left;font-size:30px;"><SPAN STYLE="display:inline-block; letter-spacing:0px; white-space:pre-wrap;color:#000000;font-family:Arial, Helvetica, sans-serif;"><SPAN STYLE="font-size:30px;">Will man Zeisls Wirken in Österreich beschreiben, kommt man nicht ohne einen Blick auf sein Beziehungsgeflecht aus. Der Komponist stand in Kontakt mit Persönlichkeiten aus verschiedenen Kunstsparten. Inbegriff dieses Austauschs war die Gruppierung „Junge Kunst“, eine interdisziplinäre Vereinigung um den Dichter und Psychoanalytiker Fred Hernfeld (im Exil Alfred Farau). Zu dem Kreis gehörten neben Hernfeld und Zeisl etwa Julius Chajes, Schoulamith Silber, Theo Salzmann, Hilde Pompan-Goldsand, Lisl Hirschfeld, Alfred Werner oder Hilde Gombrich. Auch das Galimir Quartett trat bei der „Jungen Kunst“ in Erscheinung. Als privates Pendant dazu kann Zeisls Zirkel mit der Literatin Hilde Spiel und der Malerin Lisel Salzer gesehen werden. Zeisls Frau, die Juristin Gertrud, kannte Lisel seit Kindheitstagen. Ein eindrückliches Dokument der Verbindung zwischen Hilde Spiel und Erich Zeisl ist das Porträt des Komponisten, das die Literatin in ihrem Romanerstling Kati auf der Brücke (1933) mit der Figur des Musikers zeichnete. Ein anderes Zeisl-Porträt schuf Lisel Salzer – das Original gilt als verschollen, eine Kopie davon vermittelt ihren Blick auf Erich Zeisl.</SPAN></SPAN></DIV><DIV STYLE="text-align:left;"><SPAN STYLE="display:inline-block; letter-spacing:0px; white-space:pre-wrap;color:#000000;font-family:Arial, Helvetica, sans-serif;"><SPAN/></SPAN></DIV><DIV STYLE="text-align:left;"><SPAN STYLE="display:inline-block; letter-spacing:0px; white-space:pre-wrap;color:#000000;font-family:Arial, Helvetica, sans-serif;"><SPAN/></SPAN></DIV></BODY></HTML></div>
htmlText_B024CC86_2E6D_73AF_4184_6BA9FB27C651.html = <div style="text-align:left; color:#000; "><HTML><BODY><DIV STYLE="text-align:left;font-size:30px;"><SPAN STYLE="display:inline-block; letter-spacing:0px; white-space:pre-wrap;color:#000000;font-family:Arial, Helvetica, sans-serif;"><SPAN STYLE="font-size:30px;"><B>Zeisl’s Artistic Networks in Vienna</B></SPAN></SPAN></DIV><DIV STYLE="text-align:left;"><SPAN STYLE="display:inline-block; letter-spacing:0px; white-space:pre-wrap;color:#000000;font-family:Arial, Helvetica, sans-serif;"><SPAN/></SPAN></DIV><DIV STYLE="text-align:left;font-size:30px;"><SPAN STYLE="display:inline-block; letter-spacing:0px; white-space:pre-wrap;color:#000000;font-family:Arial, Helvetica, sans-serif;"><SPAN STYLE="font-size:30px;">To describe Eric Zeisl’s life and work in Austria takes looking at his network of relationships. Zeisl was connected with people from various art genres, with the epicenter of this exchange being the “Junge Kunst” (Young Art) group, an interdisciplinary association around the poet and psychoanalyst Fred Hernfeld (who in exile renamed himself Alfred Farau). Aside from Hernfeld and Zeisl, this circle included, for example, Julius Chajes, Schoulamith Silber, Theo Salzmann, Hilde Pompan-Goldsand, Lisl Hirschfeld, Alfred Werner, and Hilde Gombrich. The Galimir Quartet also made appearances at “Junge Kunst” events. A more private circle was based on Zeisl’s close friendships with the writer Hilde Spiel and the painter Lisel Salzer. Zeisl’s wife, Gertrud, a lawyer, had known Salzer since their childhood days. One vivid piece of evidence of the connection between Hilde Spiel and Eric Zeisl is the composer’s portrait given by the writer in her debut novel, Kati auf der Brücke (Kati on the Bridge, 1933), with the character of the musician. Another portrait of Zeisl was created by Lisel Salzer—although the original painting is lost, a surviving copy still conveys an idea of how she viewed Eric Zeisl.</SPAN></SPAN></DIV></BODY></HTML></div>
htmlText_DF2EDD3E_5D06_01F8_41CD_F1B5CF2A3BFC.html = <div style="text-align:left; color:#000; "><HTML><BODY><DIV STYLE="text-align:left;font-size:30px;"><SPAN STYLE="display:inline-block; letter-spacing:0px; white-space:pre-wrap;color:#000000;font-family:Arial, Helvetica, sans-serif;"><SPAN STYLE="font-size:30px;"><B>Österreichs „Anschluss“ an Nazideutschland</B></SPAN></SPAN></DIV><DIV STYLE="text-align:left;"><SPAN STYLE="display:inline-block; letter-spacing:0px; white-space:pre-wrap;color:#000000;font-family:Arial, Helvetica, sans-serif;"><SPAN/></SPAN></DIV><DIV STYLE="text-align:left;font-size:30px;"><SPAN STYLE="display:inline-block; letter-spacing:0px; white-space:pre-wrap;color:#000000;font-family:Arial, Helvetica, sans-serif;"><SPAN STYLE="font-size:30px;">Noch am 10. März 1938 spielte das Wiener Konzertorchester im Großen Ehrbarsaal unter dem Dirigenten Rudolf Fellner; auf dem Programm stand die Uraufführung von Zeisls Scherzo und Fuge für Streichorchester. Das die Zukunft Österreichs bestimmende Ereignis hielt der Komponist im Nachhinein in einer Notiz auf der Konzertankündigung fest: „Hitlers Einmarsch in Wien.“ Nach dem „Anschluss“ Österreichs an Nazideutschland zogen sich die Zeisls nach Baden bei Wien zurück. Dort erreichte sie im Sommer 1938 die Aufforderung der NSDAP-Kreisleitung, die Stadt innerhalb von 48 Stunden zu verlassen. Für jüdische Menschen bot sich in Österreich kein sicherer Ort; Zeisl verfiel in tiefe Depression: „Vielleicht werde ich nicht mehr komponieren können. Es wäre entsetzlich und mein Leben verwirkt.“ So schrieb er im Mai 1938 in einem Hilferuf an Hilde Spiel, die seit 1936 im Londoner Exil lebte. Eine besondere Fügung rettete den Zeisls das Leben: Man machte sich auf die Suche nach Namensvettern in Übersee und fand tatsächlich einen New Yorker „Telefonbuchzeisl“, der das wichtige Affidavit nach Wien schickte. Mit diesem Dokument flüchteten die Zeisls nach dem Novemberpogrom 1938 nach Paris. Für die Weiterreise in die Vereinigten Staaten stellte ein entfernter Verwandter aus Milwaukee ein zweites Affidavit aus.</SPAN></SPAN></DIV></BODY></HTML></div>
htmlText_B057EC3B_9FA8_FF34_41C4_9C86DECC764E.html = <div style="text-align:left; color:#000; "><HTML><BODY><DIV STYLE="text-align:left;font-size:30px;"><SPAN STYLE="display:inline-block; letter-spacing:0px; white-space:pre-wrap;color:#000000;font-family:Arial, Helvetica, sans-serif;"><SPAN STYLE="font-size:30px;"><I>Armseelchen</I></SPAN><SPAN STYLE="font-size:30px;"> (1914)</SPAN></SPAN></DIV><DIV STYLE="text-align:left;font-size:30px;"><SPAN STYLE="display:inline-block; letter-spacing:0px; white-space:pre-wrap;color:#000000;font-family:Arial, Helvetica, sans-serif;"><SPAN STYLE="font-size:30px;">Wolfgang Holzmair, Bariton</SPAN></SPAN></DIV><DIV STYLE="text-align:left;font-size:30px;"><SPAN STYLE="display:inline-block; letter-spacing:0px; white-space:pre-wrap;color:#000000;font-family:Arial, Helvetica, sans-serif;"><SPAN STYLE="font-size:30px;">Cord Garben, Klavier </SPAN></SPAN></DIV></BODY></HTML></div>
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htmlText_D34284B7_A0A8_6F3C_41D7_08131CF4184E.html = <div style="text-align:left; color:#000; "><HTML><BODY><DIV STYLE="text-align:left;font-size:30px;"><SPAN STYLE="display:inline-block; letter-spacing:0px; white-space:pre-wrap;color:#000000;font-family:Arial, Helvetica, sans-serif;"><SPAN STYLE="font-size:30px;"><I>Kleine Symphonie </I></SPAN><SPAN STYLE="font-size:30px;">(1935/36) </SPAN></SPAN></DIV><DIV STYLE="text-align:left;font-size:30px;"><SPAN STYLE="display:inline-block; letter-spacing:0px; white-space:pre-wrap;color:#000000;font-family:Arial, Helvetica, sans-serif;"><SPAN STYLE="font-size:30px;">3. Satz: </SPAN><SPAN STYLE="font-size:30px;"><I>Der Leichenschmaus </I></SPAN></SPAN></DIV><DIV STYLE="text-align:left;font-size:30px;"><SPAN STYLE="display:inline-block; letter-spacing:0px; white-space:pre-wrap;color:#000000;font-family:Arial, Helvetica, sans-serif;"><SPAN STYLE="font-size:30px;">UCLA Philharmonia, Neal Stulberg</SPAN></SPAN></DIV></BODY></HTML></div>
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htmlText_702930FA_63C6_F696_41A1_02382D427FBC.html = <div style="text-align:left; color:#000; "><HTML><BODY><DIV STYLE="text-align:left;font-size:30px;"><SPAN STYLE="display:inline-block; letter-spacing:0px; white-space:pre-wrap;color:#000000;font-family:Arial, Helvetica, sans-serif;"><SPAN STYLE="font-size:30px;"><I>Requiem Ebraico</I></SPAN><SPAN STYLE="font-size:30px;"> (1944/45): Tov l'hodos ladonoy </SPAN></SPAN></DIV><DIV STYLE="text-align:left;font-size:30px;"><SPAN STYLE="display:inline-block; letter-spacing:0px; white-space:pre-wrap;color:#000000;font-family:Arial, Helvetica, sans-serif;"><SPAN STYLE="font-size:30px;">Rundfunk-Sinfonieorchester Berlin, Lawrence Foster</SPAN></SPAN></DIV><DIV STYLE="text-align:left;font-size:30px;"><SPAN STYLE="display:inline-block; letter-spacing:0px; white-space:pre-wrap;color:#000000;font-family:Arial, Helvetica, sans-serif;"><SPAN STYLE="font-size:30px;">Rundfunkchor Berlin</SPAN></SPAN></DIV><DIV STYLE="text-align:left;font-size:30px;"><SPAN STYLE="display:inline-block; letter-spacing:0px; white-space:pre-wrap;color:#000000;font-family:Arial, Helvetica, sans-serif;"><SPAN STYLE="font-size:30px;">Deborah Riedel, Sopran</SPAN></SPAN></DIV><DIV STYLE="text-align:left;font-size:30px;"><SPAN STYLE="display:inline-block; letter-spacing:0px; white-space:pre-wrap;color:#000000;font-family:Arial, Helvetica, sans-serif;"><SPAN STYLE="font-size:30px;">Della Jones, Mezzosopran</SPAN></SPAN></DIV><DIV STYLE="text-align:left;font-size:30px;"><SPAN STYLE="display:inline-block; letter-spacing:0px; white-space:pre-wrap;color:#000000;font-family:Arial, Helvetica, sans-serif;"><SPAN STYLE="font-size:30px;">Michael Kraus, Bassbariton</SPAN></SPAN></DIV></BODY></HTML></div>
htmlText_255456B2_A1A8_EB34_41CB_6BD9F2834461.html = <div style="text-align:left; color:#000; "><HTML><BODY><DIV STYLE="text-align:left;font-size:30px;"><SPAN STYLE="display:inline-block; letter-spacing:0px; white-space:pre-wrap;color:#000000;font-family:Arial, Helvetica, sans-serif;"><SPAN STYLE="font-size:30px;"><I>Sonata for Violin and Piano (Brandeis Sonata) </I></SPAN><SPAN STYLE="font-size:30px;">(1949/50)</SPAN></SPAN></DIV><DIV STYLE="text-align:left;font-size:30px;"><SPAN STYLE="display:inline-block; letter-spacing:0px; white-space:pre-wrap;color:#000000;font-family:Arial, Helvetica, sans-serif;"><SPAN STYLE="font-size:30px;">1. Satz: Grave-Allegretto</SPAN></SPAN></DIV><DIV STYLE="text-align:left;font-size:30px;"><SPAN STYLE="display:inline-block; letter-spacing:0px; white-space:pre-wrap;color:#000000;font-family:Arial, Helvetica, sans-serif;"><SPAN STYLE="font-size:30px;">Israel Baker, Violine </SPAN></SPAN></DIV><DIV STYLE="text-align:left;font-size:30px;"><SPAN STYLE="display:inline-block; letter-spacing:0px; white-space:pre-wrap;color:#000000;font-family:Arial, Helvetica, sans-serif;"><SPAN STYLE="font-size:30px;">Yaltah Menuhin, Klavier</SPAN></SPAN></DIV></BODY></HTML></div>
htmlText_A0E95FEF_9FE9_992C_41E0_35456108D633.html = <div style="text-align:left; color:#000; "><HTML><BODY><DIV STYLE="text-align:left;font-size:30px;"><SPAN STYLE="display:inline-block; letter-spacing:0px; white-space:pre-wrap;color:#000000;font-family:Arial, Helvetica, sans-serif;"><SPAN STYLE="font-size:30px;"><I>Suite für Klavier, Violine und Violoncello</I></SPAN><SPAN STYLE="font-size:30px;">, op. 8 (1920–24) </SPAN></SPAN></DIV><DIV STYLE="text-align:left;font-size:30px;"><SPAN STYLE="display:inline-block; letter-spacing:0px; white-space:pre-wrap;color:#000000;font-family:Arial, Helvetica, sans-serif;"><SPAN STYLE="font-size:30px;">3. Satz: Allegretto scherzando</SPAN></SPAN></DIV><DIV STYLE="text-align:left;font-size:30px;"><SPAN STYLE="display:inline-block; letter-spacing:0px; white-space:pre-wrap;color:#000000;font-family:Arial, Helvetica, sans-serif;"><SPAN STYLE="font-size:30px;">The Brandeis-Bardin Ensemble</SPAN></SPAN></DIV></BODY></HTML></div>
htmlText_54DC3F04_350A_C461_41AF_A777B71D8903.html = <div style="text-align:left; color:#000; "><HTML><BODY><DIV STYLE="text-align:left;font-size:30px;"><SPAN STYLE="display:inline-block; letter-spacing:0px; white-space:pre-wrap;color:#000000;font-family:Arial, Helvetica, sans-serif;"><SPAN STYLE="font-size:30px;"><I>The morning Telegraph</I></SPAN><SPAN STYLE="font-size:30px;">, 28. November 1939</SPAN></SPAN></DIV><DIV STYLE="text-align:left;font-size:30px;"><SPAN STYLE="display:inline-block; letter-spacing:0px; white-space:pre-wrap;color:#000000;font-family:Arial, Helvetica, sans-serif;"><SPAN STYLE="font-size:30px;">„Zeisl’s Music In U.S. Debut“: </SPAN><SPAN STYLE="font-size:30px;"><I>Little Symphony</I></SPAN><SPAN STYLE="font-size:30px;"> wird im amerikanischen Radio ausgestrahlt</SPAN></SPAN></DIV><DIV STYLE="text-align:left;font-size:30px;"><SPAN STYLE="display:inline-block; letter-spacing:0px; white-space:pre-wrap;color:#000000;font-family:Arial, Helvetica, sans-serif;"><SPAN STYLE="font-size:30px;"> </SPAN></SPAN></DIV><DIV STYLE="text-align:left;font-size:30px;"><SPAN STYLE="display:inline-block; letter-spacing:0px; white-space:pre-wrap;color:#000000;font-family:Arial, Helvetica, sans-serif;"><SPAN STYLE="font-size:30px;">Nachlass Erich Zeisl, Archiv des Exilarte Zentrum der mdw</SPAN></SPAN></DIV><DIV STYLE="text-align:left;"><SPAN STYLE="display:inline-block; letter-spacing:0px; white-space:pre-wrap;color:#000000;font-family:Arial, Helvetica, sans-serif;"><SPAN/></SPAN></DIV><DIV STYLE="text-align:left;font-size:30px;"><SPAN STYLE="display:inline-block; letter-spacing:0px; white-space:pre-wrap;color:#000000;font-family:Arial, Helvetica, sans-serif;"><SPAN STYLE="font-size:30px;">Gertrud und Erich Zeisl mit der Tochter Barbara in New York City, 1940</SPAN></SPAN></DIV><DIV STYLE="text-align:left;font-size:30px;"><SPAN STYLE="display:inline-block; letter-spacing:0px; white-space:pre-wrap;color:#000000;font-family:Arial, Helvetica, sans-serif;"><SPAN STYLE="font-size:30px;">Nachlass Erich Zeisl, Archiv des Exilarte Zentrum der mdw</SPAN></SPAN></DIV><DIV STYLE="text-align:left;"><SPAN STYLE="display:inline-block; letter-spacing:0px; white-space:pre-wrap;color:#000000;font-family:Arial, Helvetica, sans-serif;"><SPAN/></SPAN></DIV><DIV STYLE="text-align:left;font-size:30px;"><SPAN STYLE="display:inline-block; letter-spacing:0px; white-space:pre-wrap;color:#000000;font-family:Arial, Helvetica, sans-serif;"><SPAN STYLE="font-size:30px;">Gertrud und Erich Zeisl mit der Tochter Barbara in New York City, 1940</SPAN></SPAN></DIV><DIV STYLE="text-align:left;"><SPAN STYLE="display:inline-block; letter-spacing:0px; white-space:pre-wrap;color:#000000;font-family:Arial, Helvetica, sans-serif;"><SPAN/></SPAN></DIV><DIV STYLE="text-align:left;font-size:30px;"><SPAN STYLE="display:inline-block; letter-spacing:0px; white-space:pre-wrap;color:#000000;font-family:Arial, Helvetica, sans-serif;"><SPAN STYLE="font-size:30px;">Nachlass Erich Zeisl, Archiv des Exilarte Zentrum der mdw</SPAN></SPAN></DIV><DIV STYLE="text-align:left;"><SPAN STYLE="display:inline-block; letter-spacing:0px; white-space:pre-wrap;color:#000000;font-family:Arial, Helvetica, sans-serif;"><SPAN/></SPAN></DIV><DIV STYLE="text-align:left;font-size:30px;"><SPAN STYLE="display:inline-block; letter-spacing:0px; white-space:pre-wrap;color:#000000;font-family:Arial, Helvetica, sans-serif;"><SPAN STYLE="font-size:30px;">Gertrud Zeisl und Ilona Jellinek mit Baby Barbara, 1940</SPAN></SPAN></DIV><DIV STYLE="text-align:left;font-size:30px;"><SPAN STYLE="display:inline-block; letter-spacing:0px; white-space:pre-wrap;color:#000000;font-family:Arial, Helvetica, sans-serif;"><SPAN STYLE="font-size:30px;">Nachlass Erich Zeisl, Archiv des Exilarte Zentrum der mdw</SPAN></SPAN></DIV><DIV STYLE="text-align:left;"><SPAN STYLE="display:inline-block; letter-spacing:0px; white-space:pre-wrap;color:#000000;font-family:Arial, Helvetica, sans-serif;"><SPAN/></SPAN></DIV><DIV STYLE="text-align:left;font-size:30px;"><SPAN STYLE="display:inline-block; letter-spacing:0px; white-space:pre-wrap;color:#000000;font-family:Arial, Helvetica, sans-serif;"><SPAN STYLE="font-size:30px;">„Wir sind nach endlosen Strapazen hier angekommen“</SPAN></SPAN></DIV><DIV STYLE="text-align:left;font-size:30px;"><SPAN STYLE="display:inline-block; letter-spacing:0px; white-space:pre-wrap;color:#000000;font-family:Arial, Helvetica, sans-serif;"><SPAN STYLE="font-size:30px;">Postkarte von Erich Zeisl an Hilde Spiel, 12. Oktober 1939 </SPAN></SPAN></DIV><DIV STYLE="text-align:left;"><SPAN STYLE="display:inline-block; letter-spacing:0px; white-space:pre-wrap;color:#000000;font-family:Arial, Helvetica, sans-serif;"><SPAN/></SPAN></DIV><DIV STYLE="text-align:left;font-size:30px;"><SPAN STYLE="display:inline-block; letter-spacing:0px; white-space:pre-wrap;color:#000000;font-family:Arial, Helvetica, sans-serif;"><SPAN STYLE="font-size:30px;">Nachlass Erich Zeisl, Archiv des Exilarte Zentrum der mdw</SPAN></SPAN></DIV></BODY></HTML></div>
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htmlText_16BCAEDE_331B_45E1_41C5_DDE6BCD90BE7.html = <div style="text-align:left; color:#000; "><HTML><BODY><DIV STYLE="text-align:left;font-size:30px;"><SPAN STYLE="display:inline-block; letter-spacing:0px; white-space:pre-wrap;color:#000000;font-family:Arial, Helvetica, sans-serif;"><SPAN STYLE="font-size:30px;">Eine sinnträchtige Adresse: „39, route de l'Asile, Le Vésinet“</SPAN></SPAN></DIV><DIV STYLE="text-align:left;font-size:30px;"><SPAN STYLE="display:inline-block; letter-spacing:0px; white-space:pre-wrap;color:#000000;font-family:Arial, Helvetica, sans-serif;"><SPAN STYLE="font-size:30px;">Postkarte von Georg Moenius an Erich und Gertrud Zeisl, 23. Juli 1939</SPAN></SPAN></DIV><DIV STYLE="text-align:left;"><SPAN STYLE="display:inline-block; letter-spacing:0px; white-space:pre-wrap;color:#000000;font-family:Arial, Helvetica, sans-serif;"><SPAN/></SPAN></DIV><DIV STYLE="text-align:left;font-size:30px;"><SPAN STYLE="display:inline-block; letter-spacing:0px; white-space:pre-wrap;color:#000000;font-family:Arial, Helvetica, sans-serif;"><SPAN STYLE="font-size:30px;">Nachlass Erich Zeisl, Archiv des Exilarte Zentrum der mdw</SPAN></SPAN></DIV></BODY></HTML></div>
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htmlText_0F64A2EB_65C7_BAB6_41D5_4D5B9EEBB80B.html = <div style="text-align:left; color:#000; "><HTML><BODY><DIV STYLE="text-align:left;font-size:30px;"><SPAN STYLE="display:inline-block; letter-spacing:0px; white-space:pre-wrap;color:#000000;font-family:Arial, Helvetica, sans-serif;"><SPAN STYLE="font-size:30px;">Erich Zeisls Ausweis für die Filmindustrie: Motion Picture Employee Identification Card No. 11702, 1942 </SPAN></SPAN></DIV><DIV STYLE="text-align:left;"><SPAN STYLE="display:inline-block; letter-spacing:0px; white-space:pre-wrap;color:#000000;font-family:Arial, Helvetica, sans-serif;"><SPAN/></SPAN></DIV><DIV STYLE="text-align:left;font-size:30px;"><SPAN STYLE="display:inline-block; letter-spacing:0px; white-space:pre-wrap;color:#000000;font-family:Arial, Helvetica, sans-serif;"><SPAN STYLE="font-size:30px;">Vorder- und Rückseite</SPAN></SPAN></DIV><DIV STYLE="text-align:left;"><SPAN STYLE="display:inline-block; letter-spacing:0px; white-space:pre-wrap;color:#000000;font-family:Arial, Helvetica, sans-serif;"><SPAN/></SPAN></DIV><DIV STYLE="text-align:left;font-size:30px;"><SPAN STYLE="display:inline-block; letter-spacing:0px; white-space:pre-wrap;color:#000000;font-family:Arial, Helvetica, sans-serif;"><SPAN STYLE="font-size:30px;">Nachlass Erich Zeisl, Archiv des Exilarte Zentrum der mdw</SPAN></SPAN></DIV></BODY></HTML></div>
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htmlText_55712FAC_3820_68F9_41C5_D8A0B884870D.html = <div style="text-align:left; color:#000; "><HTML><BODY><DIV STYLE="text-align:left;font-size:30px;"><SPAN STYLE="display:inline-block; letter-spacing:0px; white-space:pre-wrap;color:#000000;font-family:Arial, Helvetica, sans-serif;"><SPAN STYLE="font-size:30px;">Erich Zeisls Vater Siegmund Zeisl und die Stiefmutter Malvine Zeisl (die Schwester von Zeisls Mutter Kamilla) wurden am 14. Juli 1942 von Wien nach Theresienstadt deportiert. Am 21. September 1942 wurden beide in das Vernichtungslager Treblinka deportiert und dort ermordet. Die Nachricht vom Tod des Vaters und der Stiefmutter erhielt Zeisl während der Vertonung von Psalm 92, dem Werk gab er daraufhin den Titel </SPAN><SPAN STYLE="font-size:30px;"><I>Requiem Ebraico</I></SPAN><SPAN STYLE="font-size:30px;">.  </SPAN></SPAN></DIV><DIV STYLE="text-align:left;"><SPAN STYLE="display:inline-block; letter-spacing:0px; white-space:pre-wrap;color:#000000;font-family:Arial, Helvetica, sans-serif;"><SPAN/></SPAN></DIV><DIV STYLE="text-align:left;font-size:30px;"><SPAN STYLE="display:inline-block; letter-spacing:0px; white-space:pre-wrap;color:#000000;font-family:Arial, Helvetica, sans-serif;"><SPAN STYLE="font-size:30px;">Nachlass Erich Zeisl, Archiv des Exilarte Zentrum der mdw</SPAN></SPAN></DIV></BODY></HTML></div>
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htmlText_A7933CB1_2FA2_B3E5_41C0_46320B9285E3.html = <div style="text-align:left; color:#000; "><HTML><BODY><DIV STYLE="text-align:left;font-size:30px;"><SPAN STYLE="display:inline-block; letter-spacing:0px; white-space:pre-wrap;color:#000000;font-family:Arial, Helvetica, sans-serif;"><SPAN STYLE="font-size:30px;">Hugo Kauder, Entwurf einer neuen Melodie- und Harmonielehre</SPAN></SPAN></DIV><DIV STYLE="text-align:left;font-size:30px;"><SPAN STYLE="display:inline-block; letter-spacing:0px; white-space:pre-wrap;color:#000000;font-family:Arial, Helvetica, sans-serif;"><SPAN STYLE="font-size:30px;">(Universal Edition Wien, 1932)</SPAN></SPAN></DIV><DIV STYLE="text-align:left;"><SPAN STYLE="display:inline-block; letter-spacing:0px; white-space:pre-wrap;color:#000000;font-family:Arial, Helvetica, sans-serif;"><SPAN/></SPAN></DIV><DIV STYLE="text-align:left;font-size:30px;"><SPAN STYLE="display:inline-block; letter-spacing:0px; white-space:pre-wrap;color:#000000;font-family:Arial, Helvetica, sans-serif;"><SPAN STYLE="font-size:30px;">Leihgabe: Karin Wagner</SPAN></SPAN></DIV></BODY></HTML></div>
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htmlText_6D7E7C60_3820_2869_41C3_1756F8F8DBB1.html = <div style="text-align:left; color:#000; "><HTML><BODY><DIV STYLE="text-align:left;font-size:30px;"><SPAN STYLE="display:inline-block; letter-spacing:0px; white-space:pre-wrap;color:#000000;font-family:Arial, Helvetica, sans-serif;"><SPAN STYLE="font-size:30px;">Im Haupthaus, genannt „Patio“, sitzt Shlomo Bardin auf der Stiege und spricht zu den Teilnehmenden im Brandeis Camp Institute, 1949</SPAN></SPAN></DIV><DIV STYLE="text-align:left;"><SPAN STYLE="display:inline-block; letter-spacing:0px; white-space:pre-wrap;color:#000000;font-family:Arial, Helvetica, sans-serif;"><SPAN/></SPAN></DIV><DIV STYLE="text-align:left;font-size:30px;"><SPAN STYLE="display:inline-block; letter-spacing:0px; white-space:pre-wrap;color:#000000;font-family:Arial, Helvetica, sans-serif;"><SPAN STYLE="font-size:30px;">Zweite Person links hinten: Barbara Zeisl, rechts daneben hinter der Säule: Gertrud Zeisl (s. auch Detail)</SPAN></SPAN></DIV><DIV STYLE="text-align:left;"><SPAN STYLE="display:inline-block; letter-spacing:0px; white-space:pre-wrap;color:#000000;font-family:Arial, Helvetica, sans-serif;"><SPAN/></SPAN></DIV><DIV STYLE="text-align:left;font-size:30px;"><SPAN STYLE="display:inline-block; letter-spacing:0px; white-space:pre-wrap;color:#000000;font-family:Arial, Helvetica, sans-serif;"><SPAN STYLE="font-size:30px;">Reproduktion</SPAN></SPAN></DIV><DIV STYLE="text-align:left;font-size:30px;"><SPAN STYLE="display:inline-block; letter-spacing:0px; white-space:pre-wrap;color:#000000;font-family:Arial, Helvetica, sans-serif;"><SPAN STYLE="font-size:30px;">American Jewish University, Special Collections, Ostrow Library</SPAN></SPAN></DIV></BODY></HTML></div>
htmlText_91EDF2A3_3A6E_D6AF_41CA_9D333A617A88.html = <div style="text-align:left; color:#000; "><HTML><BODY><DIV STYLE="text-align:left;font-size:30px;"><SPAN STYLE="display:inline-block; letter-spacing:0px; white-space:pre-wrap;color:#000000;font-family:Arial, Helvetica, sans-serif;"><SPAN STYLE="font-size:30px;">Karin Wagner, Fremd bin ich ausgezogen. Eric Zeisl Biografie</SPAN></SPAN></DIV><DIV STYLE="text-align:left;font-size:30px;"><SPAN STYLE="display:inline-block; letter-spacing:0px; white-space:pre-wrap;color:#000000;font-family:Arial, Helvetica, sans-serif;"><SPAN STYLE="font-size:30px;">(Czernin Wien, 2005) </SPAN></SPAN></DIV></BODY></HTML></div>
htmlText_0EC553EB_3AF8_39A5_4180_4A319A9C3826.html = <div style="text-align:left; color:#000; "><HTML><BODY><DIV STYLE="text-align:left;font-size:30px;"><SPAN STYLE="display:inline-block; letter-spacing:0px; white-space:pre-wrap;color:#000000;font-family:Arial, Helvetica, sans-serif;"><SPAN STYLE="font-size:30px;">Karin Wagner, „… es grüsst Dich Erichisrael“. Briefe von und an Eric Zeisl, Hilde Spiel, Richard Stöhr, Ernst Toch, Hans Kafka, u. a.</SPAN></SPAN></DIV><DIV STYLE="text-align:left;font-size:30px;"><SPAN STYLE="display:inline-block; letter-spacing:0px; white-space:pre-wrap;color:#000000;font-family:Arial, Helvetica, sans-serif;"><SPAN STYLE="font-size:30px;">(Czernin Wien, 2008)</SPAN></SPAN></DIV></BODY></HTML></div>
htmlText_0AA69199_39E0_58DB_41C3_4BF4F8D77324.html = <div style="text-align:left; color:#000; "><HTML><BODY><DIV STYLE="text-align:left;font-size:30px;"><SPAN STYLE="display:inline-block; letter-spacing:0px; white-space:pre-wrap;color:#000000;font-family:Arial, Helvetica, sans-serif;"><SPAN STYLE="font-size:30px;">Klavierauszug (Schott, Mainz) zu Erich Wolfgang Korngolds Oper Die tote Stadt mit Korngolds Widmung: „Erich Zeisl – dem alten Freund der ‚toten Stadt‘ mit allen guten Wünschen: Erich Wolfgang Korngold (der neue Freund in der ganz ‚toten Stadt‘!). Hollywood, Weihnachten 1946.“ </SPAN></SPAN></DIV><DIV STYLE="text-align:left;"><SPAN STYLE="display:inline-block; letter-spacing:0px; white-space:pre-wrap;color:#000000;font-family:Arial, Helvetica, sans-serif;"><SPAN/></SPAN></DIV><DIV STYLE="text-align:left;font-size:30px;"><SPAN STYLE="display:inline-block; letter-spacing:0px; white-space:pre-wrap;color:#000000;font-family:Arial, Helvetica, sans-serif;"><SPAN STYLE="font-size:30px;">Reproduktion</SPAN></SPAN></DIV><DIV STYLE="text-align:left;font-size:30px;"><SPAN STYLE="display:inline-block; letter-spacing:0px; white-space:pre-wrap;color:#000000;font-family:Arial, Helvetica, sans-serif;"><SPAN STYLE="font-size:30px;">Nachlass Erich Zeisl, Archiv des Exilarte Zentrum der mdw</SPAN></SPAN></DIV></BODY></HTML></div>
htmlText_160B5B12_331B_CC61_41B9_0A8BD16AE33F.html = <div style="text-align:left; color:#000; "><HTML><BODY><DIV STYLE="text-align:left;font-size:30px;"><SPAN STYLE="display:inline-block; letter-spacing:0px; white-space:pre-wrap;color:#000000;font-family:Arial, Helvetica, sans-serif;"><SPAN STYLE="font-size:30px;">Klavierauszug der späteren Oper Hiob nach dem Libretto von Hans Kafka</SPAN></SPAN></DIV><DIV STYLE="text-align:left;"><SPAN STYLE="display:inline-block; letter-spacing:0px; white-space:pre-wrap;color:#000000;font-family:Arial, Helvetica, sans-serif;"><SPAN/></SPAN></DIV><DIV STYLE="text-align:left;font-size:30px;"><SPAN STYLE="display:inline-block; letter-spacing:0px; white-space:pre-wrap;color:#000000;font-family:Arial, Helvetica, sans-serif;"><SPAN STYLE="font-size:30px;">Autograph </SPAN></SPAN></DIV><DIV STYLE="text-align:left;font-size:30px;"><SPAN STYLE="display:inline-block; letter-spacing:0px; white-space:pre-wrap;color:#000000;font-family:Arial, Helvetica, sans-serif;"><SPAN STYLE="font-size:30px;">Nachlass Erich Zeisl, Archiv des Exilarte Zentrum der mdw</SPAN></SPAN></DIV></BODY></HTML></div>
htmlText_21B84482_A198_EFD4_41B3_9173C88A6F55.html = <div style="text-align:left; color:#000; "><HTML><BODY><DIV STYLE="text-align:left;font-size:30px;"><SPAN STYLE="display:inline-block; letter-spacing:0px; white-space:pre-wrap;color:#000000;font-family:Arial, Helvetica, sans-serif;"><SPAN STYLE="font-size:30px;">Kulturschock in Hollywood</SPAN></SPAN></DIV><DIV STYLE="text-align:left;font-size:30px;"><SPAN STYLE="display:inline-block; letter-spacing:0px; white-space:pre-wrap;color:#000000;font-family:Arial, Helvetica, sans-serif;"><SPAN STYLE="font-size:30px;">Brief von Erich Zeisl an Hilde Spiel, undatiert</SPAN></SPAN></DIV><DIV STYLE="text-align:left;font-size:30px;"><SPAN STYLE="display:inline-block; letter-spacing:0px; white-space:pre-wrap;color:#000000;font-family:Arial, Helvetica, sans-serif;"><SPAN STYLE="font-size:30px;">Brief von Gertrud Zeisl an Hilde Spiel, 9. April 1942</SPAN></SPAN></DIV></BODY></HTML></div>
htmlText_0B2E9B56_3AF8_2AEF_41C8_A1A461F1FF78.html = <div style="text-align:left; color:#000; "><HTML><BODY><DIV STYLE="text-align:left;font-size:30px;"><SPAN STYLE="display:inline-block; letter-spacing:0px; white-space:pre-wrap;color:#000000;font-family:Arial, Helvetica, sans-serif;"><SPAN STYLE="font-size:30px;">Malcolm S. Cole, Barbara Barclay, Armseelchen. The Life and Music of Eric Zeisl </SPAN></SPAN></DIV><DIV STYLE="text-align:left;font-size:30px;"><SPAN STYLE="display:inline-block; letter-spacing:0px; white-space:pre-wrap;color:#000000;font-family:Arial, Helvetica, sans-serif;"><SPAN STYLE="font-size:30px;">(Greenwood Press Westport Connecticut, 1984)</SPAN></SPAN></DIV></BODY></HTML></div>
htmlText_D3EAD60C_A0A9_AAEC_4195_EDD251EBE8A6.html = <div style="text-align:left; color:#000; "><HTML><BODY><DIV STYLE="text-align:left;font-size:30px;"><SPAN STYLE="display:inline-block; letter-spacing:0px; white-space:pre-wrap;color:#000000;font-family:Arial, Helvetica, sans-serif;"><SPAN STYLE="font-size:30px;">Nach endlosen Strapazen in New York angekommen!</SPAN></SPAN></DIV><DIV STYLE="text-align:left;font-size:30px;"><SPAN STYLE="display:inline-block; letter-spacing:0px; white-space:pre-wrap;color:#000000;font-family:Arial, Helvetica, sans-serif;"><SPAN STYLE="font-size:30px;">Postkarte von Erich Zeisl an Hilde Spiel, 12. Oktober 1939 </SPAN></SPAN></DIV></BODY></HTML></div>
htmlText_FB44DF3A_2DEF_4EE7_41C6_D489C7695A55.html = <div style="text-align:left; color:#000; "><HTML><BODY><DIV STYLE="text-align:left;font-size:30px;"><SPAN STYLE="display:inline-block; letter-spacing:0px; white-space:pre-wrap;color:#000000;font-family:Arial, Helvetica, sans-serif;"><SPAN STYLE="font-size:30px;">Neuigkeiten zum „Telefonbuchzeisl“</SPAN></SPAN></DIV><DIV STYLE="text-align:left;font-size:30px;"><SPAN STYLE="display:inline-block; letter-spacing:0px; white-space:pre-wrap;color:#000000;font-family:Arial, Helvetica, sans-serif;"><SPAN STYLE="font-size:30px;">Brief von Erich Zeisl an Hilde Spiel, 19. Oktober 1938</SPAN></SPAN></DIV></BODY></HTML></div>
htmlText_6B844FEB_64CE_AAB6_41A6_74CC3D80566C.html = <div style="text-align:left; color:#000; "><HTML><BODY><DIV STYLE="text-align:left;font-size:30px;"><SPAN STYLE="display:inline-block; letter-spacing:0px; white-space:pre-wrap;color:#000000;font-family:Arial, Helvetica, sans-serif;"><SPAN STYLE="font-size:30px;">New York, New York!</SPAN></SPAN></DIV><DIV STYLE="text-align:left;"><SPAN STYLE="display:inline-block; letter-spacing:0px; white-space:pre-wrap;color:#000000;font-family:Arial, Helvetica, sans-serif;"><SPAN/></SPAN></DIV><DIV STYLE="text-align:left;font-size:30px;"><SPAN STYLE="display:inline-block; letter-spacing:0px; white-space:pre-wrap;color:#000000;font-family:Arial, Helvetica, sans-serif;"><SPAN STYLE="font-size:30px;">Just before the outbreak of World War II, the Zeisl family left Europe, arriving in New York aboard the “Volendam.” Their first encounter with American cultural life proved surprisingly promising—on November 28, 1939, The Morning Telegraph ran a note on the Austrian exile headlined “Zeisl’s Music in U.S. Debut.” His Little Symphony, originally composed as Kleine Symphonie after paintings by Roswitha Bitterlich, resonated perfectly with American audiences and was performed by the Radio City Music Hall Symphony Orchestra under the conductorship of Ernö Rapée. The first U.S. radio performance of Zeisl’s music aired on WJZ and the NBC Blue Network in December 1939. Zeisl, though, had his sights set on Hollywood: Through Erwin Piscator, he had met Hanns Eisler, who helped him relocate to the West Coast with a letter of recommendation to filmmaker Herbert Kline. The final arrangements were made through negotiations that Hans Kafka, then a screenwriter for MGM in Los Angeles, conducted with his employer on Zeisl’s behalf. And so, the Zeisls—now a family of three with their New York-born daughter Barbara—eventually found their way to the “City of Angels.”</SPAN></SPAN></DIV></BODY></HTML></div>
htmlText_8F059166_2E65_B56F_41C0_87F529B14F33.html = <div style="text-align:left; color:#000; "><HTML><BODY><DIV STYLE="text-align:left;font-size:30px;"><SPAN STYLE="display:inline-block; letter-spacing:0px; white-space:pre-wrap;color:#000000;font-family:Arial, Helvetica, sans-serif;"><SPAN STYLE="font-size:30px;">Paul Amadeus Pisk nannte Erich Zeisl am 26. Jänner 1934 in </SPAN><SPAN STYLE="font-size:30px;"><I>Radio Wien</I></SPAN><SPAN STYLE="font-size:30px;"> eine der „stärksten Persönlichkeiten der noch nicht dreißigjährigen Wiener Komponisten“. Zeisls Foto stammte von Hermann Brühlmeyer.</SPAN></SPAN></DIV><DIV STYLE="text-align:left;"><SPAN STYLE="display:inline-block; letter-spacing:0px; white-space:pre-wrap;color:#000000;font-family:Arial, Helvetica, sans-serif;"><SPAN/></SPAN></DIV><DIV STYLE="text-align:left;font-size:30px;"><SPAN STYLE="display:inline-block; letter-spacing:0px; white-space:pre-wrap;color:#000000;font-family:Arial, Helvetica, sans-serif;"><SPAN STYLE="font-size:30px;">Nachlass Erich Zeisl, Archiv des Exilarte Zentrum der mdw</SPAN></SPAN></DIV></BODY></HTML></div>
htmlText_666D3834_6C5E_F592_41A7_13555D7FF57F.html = <div style="text-align:left; color:#000; "><HTML><BODY><DIV STYLE="text-align:left;font-size:30px;"><SPAN STYLE="display:inline-block; letter-spacing:0px; white-space:pre-wrap;color:#000000;font-family:Arial, Helvetica, sans-serif;"><SPAN STYLE="font-size:30px;">Plakat zu </SPAN><SPAN STYLE="font-size:30px;"><I>Slightly Dangerous </I></SPAN></SPAN></DIV><DIV STYLE="text-align:left;font-size:30px;"><SPAN STYLE="display:inline-block; letter-spacing:0px; white-space:pre-wrap;color:#000000;font-family:Arial, Helvetica, sans-serif;"><SPAN STYLE="font-size:30px;">Eine MGM-Produktion in Starbesetzung aus 1943, für die Zeisl komponierte</SPAN></SPAN></DIV><DIV STYLE="text-align:left;"><SPAN STYLE="display:inline-block; letter-spacing:0px; white-space:pre-wrap;color:#000000;font-family:Arial, Helvetica, sans-serif;"><SPAN/></SPAN></DIV><DIV STYLE="text-align:left;font-size:30px;"><SPAN STYLE="display:inline-block; letter-spacing:0px; white-space:pre-wrap;color:#000000;font-family:Arial, Helvetica, sans-serif;"><SPAN STYLE="font-size:30px;">Reproduktion</SPAN></SPAN></DIV><DIV STYLE="text-align:left;font-size:30px;"><SPAN STYLE="display:inline-block; letter-spacing:0px; white-space:pre-wrap;color:#000000;font-family:Arial, Helvetica, sans-serif;"><SPAN STYLE="font-size:30px;">Archiv des Exilarte Zentrum der mdw</SPAN></SPAN></DIV></BODY></HTML></div>
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htmlText_61583658_4D3B_7DC7_41B2_C78C7745DB5E.html = <div style="text-align:left; color:#000; "><HTML><BODY><DIV STYLE="text-align:left;font-size:30px;"><SPAN STYLE="display:inline-block; letter-spacing:0px; white-space:pre-wrap;color:#000000;font-family:Arial, Helvetica, sans-serif;"><SPAN STYLE="font-size:30px;">Programmheft “Laegue for Labor Palestine – Music Festival”, Wilshire Ebell Theatre Los Angeles, 2. Oktober 1943 </SPAN></SPAN></DIV><DIV STYLE="text-align:left;font-size:30px;"><SPAN STYLE="display:inline-block; letter-spacing:0px; white-space:pre-wrap;color:#000000;font-family:Arial, Helvetica, sans-serif;"><SPAN STYLE="font-size:30px;">Zeisls Musik fand Eingang in die Szene jüdischer Kunstmusik: Konzerte, die oft auch zionistischen Idealen verschrieben waren. Beim „League for Labor Palestine“-Musikfestival 1943 wurden Zeisls </SPAN><SPAN STYLE="font-size:30px;"><I>Overture und Folk Dance</I></SPAN><SPAN STYLE="font-size:30px;"> aus </SPAN><SPAN STYLE="font-size:30px;"><I>Hiob</I></SPAN><SPAN STYLE="font-size:30px;"> aufgeführt.   </SPAN></SPAN></DIV><DIV STYLE="text-align:left;"><SPAN STYLE="display:inline-block; letter-spacing:0px; white-space:pre-wrap;color:#000000;font-family:Arial, Helvetica, sans-serif;"><SPAN/></SPAN></DIV><DIV STYLE="text-align:left;font-size:30px;"><SPAN STYLE="display:inline-block; letter-spacing:0px; white-space:pre-wrap;color:#000000;font-family:Arial, Helvetica, sans-serif;"><SPAN STYLE="font-size:30px;">Nachlass Erich Zeisl, Archiv des Exilarte Zentrum der mdw</SPAN></SPAN></DIV></BODY></HTML></div>
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htmlText_612D2BC4_7969_4B0B_41D8_9B53ACEF60BA.html = <div style="text-align:left; color:#000; "><HTML><BODY><DIV STYLE="text-align:left;font-size:30px;"><SPAN STYLE="display:inline-block; letter-spacing:0px; white-space:pre-wrap;color:#000000;font-family:Arial, Helvetica, sans-serif;"><SPAN STYLE="font-size:30px;">Programmheft „That we may live“, Shrine Auditorium Los Angeles, 17. / 18. Dezember 1946 </SPAN></SPAN></DIV><DIV STYLE="text-align:left;"><SPAN STYLE="display:inline-block; letter-spacing:0px; white-space:pre-wrap;color:#000000;font-family:Arial, Helvetica, sans-serif;"><SPAN/></SPAN></DIV><DIV STYLE="text-align:left;font-size:30px;"><SPAN STYLE="display:inline-block; letter-spacing:0px; white-space:pre-wrap;color:#000000;font-family:Arial, Helvetica, sans-serif;"><SPAN STYLE="font-size:30px;">Nachlass Erich Zeisl, Archiv des Exilarte Zentrum der mdw</SPAN></SPAN></DIV></BODY></HTML></div>
htmlText_6D0379C3_3820_E8AF_41B1_D2F8B4286F4F.html = <div style="text-align:left; color:#000; "><HTML><BODY><DIV STYLE="text-align:left;font-size:30px;"><SPAN STYLE="display:inline-block; letter-spacing:0px; white-space:pre-wrap;color:#000000;font-family:Arial, Helvetica, sans-serif;"><SPAN STYLE="font-size:30px;">Programmzettel “Carnegie ‘POP’ Concerts”, Palestine Night”, 18. Mai 1948</SPAN></SPAN></DIV><DIV STYLE="text-align:left;font-size:30px;"><SPAN STYLE="display:inline-block; letter-spacing:0px; white-space:pre-wrap;color:#000000;font-family:Arial, Helvetica, sans-serif;"><SPAN STYLE="font-size:30px;">In der Carnegie feierte man die Proklamation des Staates Israel u. a. mit Zeisls </SPAN><SPAN STYLE="font-size:30px;"><I>Suite To the Promised Land</I></SPAN><SPAN STYLE="font-size:30px;">. </SPAN></SPAN></DIV><DIV STYLE="text-align:left;"><SPAN STYLE="display:inline-block; letter-spacing:0px; white-space:pre-wrap;color:#000000;font-family:Arial, Helvetica, sans-serif;"><SPAN/></SPAN></DIV><DIV STYLE="text-align:left;font-size:30px;"><SPAN STYLE="display:inline-block; letter-spacing:0px; white-space:pre-wrap;color:#000000;font-family:Arial, Helvetica, sans-serif;"><SPAN STYLE="font-size:30px;">Nachlass Erich Zeisl, Archiv des Exilarte Zentrum der mdw</SPAN></SPAN></DIV></BODY></HTML></div>
htmlText_51615138_3820_F9D9_41C5_C29AB041952B.html = <div style="text-align:left; color:#000; "><HTML><BODY><DIV STYLE="text-align:left;font-size:30px;"><SPAN STYLE="display:inline-block; letter-spacing:0px; white-space:pre-wrap;color:#000000;font-family:Arial, Helvetica, sans-serif;"><SPAN STYLE="font-size:30px;">Programmzettel „Hollywood Inter-Faith Forum“ mit der Uraufführung des </SPAN><SPAN STYLE="font-size:30px;"><I>Requiem Ebraico (Psalm 92) </I></SPAN><SPAN STYLE="font-size:30px;">in der Orgelfassung, 8. April 1945</SPAN></SPAN></DIV><DIV STYLE="text-align:left;font-size:30px;"><SPAN STYLE="display:inline-block; letter-spacing:0px; white-space:pre-wrap;color:#000000;font-family:Arial, Helvetica, sans-serif;"><SPAN STYLE="font-size:30px;">Der Auftraggeber Jacob Sonderling referierte zu „The Message of Music in Religion“. </SPAN></SPAN></DIV><DIV STYLE="text-align:left;"><SPAN STYLE="display:inline-block; letter-spacing:0px; white-space:pre-wrap;color:#000000;font-family:Arial, Helvetica, sans-serif;"><SPAN/></SPAN></DIV><DIV STYLE="text-align:left;font-size:30px;"><SPAN STYLE="display:inline-block; letter-spacing:0px; white-space:pre-wrap;color:#000000;font-family:Arial, Helvetica, sans-serif;"><SPAN STYLE="font-size:30px;">Nachlass Erich Zeisl, Archiv des Exilarte Zentrum der mdw</SPAN></SPAN></DIV></BODY></HTML></div>
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htmlText_AE715028_2FA5_72E3_41B5_1A4D179DFCA9.html = <div style="text-align:left; color:#000; "><HTML><BODY><DIV STYLE="text-align:left;font-size:30px;"><SPAN STYLE="display:inline-block; letter-spacing:0px; white-space:pre-wrap;color:#000000;font-family:Arial, Helvetica, sans-serif;"><SPAN STYLE="font-size:30px;">Programmzettel „Reife-Konzert“, Österreichischer Musikpädagogischer Verband, Ortsgruppe Wien, 25. März 1924</SPAN></SPAN></DIV><DIV STYLE="text-align:left;font-size:30px;"><SPAN STYLE="display:inline-block; letter-spacing:0px; white-space:pre-wrap;color:#000000;font-family:Arial, Helvetica, sans-serif;"><SPAN STYLE="font-size:30px;">Erich Zeisl ist als Schüler von Richard Stöhr genannt.</SPAN></SPAN></DIV><DIV STYLE="text-align:left;"><SPAN STYLE="display:inline-block; letter-spacing:0px; white-space:pre-wrap;color:#000000;font-family:Arial, Helvetica, sans-serif;"><SPAN/></SPAN></DIV><DIV STYLE="text-align:left;font-size:30px;"><SPAN STYLE="display:inline-block; letter-spacing:0px; white-space:pre-wrap;color:#000000;font-family:Arial, Helvetica, sans-serif;"><SPAN STYLE="font-size:30px;">Nachlass Erich Zeisl, Archiv des Exilarte Zentrum der mdw</SPAN></SPAN></DIV></BODY></HTML></div>
htmlText_6A9B0041_3820_57AB_4198_07FD4749F789.html = <div style="text-align:left; color:#000; "><HTML><BODY><DIV STYLE="text-align:left;font-size:30px;"><SPAN STYLE="display:inline-block; letter-spacing:0px; white-space:pre-wrap;color:#000000;font-family:Arial, Helvetica, sans-serif;"><SPAN STYLE="font-size:30px;">Programmzettel „Sonata Recital, Israel Baker und Yaltah Menuhin“, Uraufführung der </SPAN><SPAN STYLE="font-size:30px;"><I>Brandeis Sonata</I></SPAN><SPAN STYLE="font-size:30px;">, Barnum Hall Santa Monica, 24. September 1950</SPAN></SPAN></DIV><DIV STYLE="text-align:left;font-size:30px;"><SPAN STYLE="display:inline-block; letter-spacing:0px; white-space:pre-wrap;color:#000000;font-family:Arial, Helvetica, sans-serif;"><SPAN STYLE="font-size:30px;">Das Brandeis Camp inspirierte Zeisl zur Komposition der </SPAN><SPAN STYLE="font-size:30px;"><I>Brandeis Sonata</I></SPAN><SPAN STYLE="font-size:30px;"> für Violine und Klavier, eine „Voraufführung“ der Sonate fand am 13. August 1950 im Brandeis Camp statt.  </SPAN></SPAN></DIV><DIV STYLE="text-align:left;"><SPAN STYLE="display:inline-block; letter-spacing:0px; white-space:pre-wrap;color:#000000;font-family:Arial, Helvetica, sans-serif;"><SPAN/></SPAN></DIV><DIV STYLE="text-align:left;font-size:30px;"><SPAN STYLE="display:inline-block; letter-spacing:0px; white-space:pre-wrap;color:#000000;font-family:Arial, Helvetica, sans-serif;"><SPAN STYLE="font-size:30px;">Nachlass Erich Zeisl, Archiv des Exilarte Zentrum der mdw</SPAN></SPAN></DIV></BODY></HTML></div>
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htmlText_DEDB6E31_5D06_0388_41AF_03FC17E9FAEF.html = <div style="text-align:left; color:#000; "><HTML><BODY><DIV STYLE="text-align:left;font-size:30px;"><SPAN STYLE="display:inline-block; letter-spacing:0px; white-space:pre-wrap;color:#000000;font-family:Arial, Helvetica, sans-serif;"><SPAN STYLE="font-size:30px;">Schreiben der Stadtgemeinde Baden mit dem Befehl, die Stadt innerhalb 48 Stunden zu verlassen, 29. Juni 1938</SPAN></SPAN></DIV><DIV STYLE="text-align:left;font-size:30px;"><SPAN STYLE="display:inline-block; letter-spacing:0px; white-space:pre-wrap;color:#000000;font-family:Arial, Helvetica, sans-serif;"><SPAN STYLE="font-size:30px;">Dieser Hinauswurf aus dem Zufluchtsort Baden bei Wien ging an die gesamte Familie Zeisl.</SPAN></SPAN></DIV><DIV STYLE="text-align:left;"><SPAN STYLE="display:inline-block; letter-spacing:0px; white-space:pre-wrap;color:#000000;font-family:Arial, Helvetica, sans-serif;"><SPAN/></SPAN></DIV><DIV STYLE="text-align:left;font-size:30px;"><SPAN STYLE="display:inline-block; letter-spacing:0px; white-space:pre-wrap;color:#000000;font-family:Arial, Helvetica, sans-serif;"><SPAN STYLE="font-size:30px;">Nachlass Erich Zeisl, Archiv des Exilarte Zentrum der mdw</SPAN></SPAN></DIV></BODY></HTML></div>
htmlText_EC94D14F_2EE2_D2BD_41B5_2D67248FAC83.html = <div style="text-align:left; color:#000; "><HTML><BODY><DIV STYLE="text-align:left;font-size:30px;"><SPAN STYLE="display:inline-block; letter-spacing:0px; white-space:pre-wrap;color:#000000;font-family:Arial, Helvetica, sans-serif;"><SPAN STYLE="font-size:30px;">Seite aus dem 1939/40 Brooklyn Telephone Dictionary mit dem Namen „Morris Zeisel“</SPAN></SPAN></DIV><DIV STYLE="text-align:left;font-size:30px;"><SPAN STYLE="display:inline-block; letter-spacing:0px; white-space:pre-wrap;color:#000000;font-family:Arial, Helvetica, sans-serif;"><SPAN STYLE="font-size:30px;">Gertrud Zeisl suchte im New Yorker Telefonbuch nach einem Namensgleichen, der ein Affidavit für die Vereinigten Staaten senden konnte. Morris Zeisel, ein „Master Plumber“ aus New York, schickte das lebensrettende Dokument.  </SPAN></SPAN></DIV><DIV STYLE="text-align:left;"><SPAN STYLE="display:inline-block; letter-spacing:0px; white-space:pre-wrap;color:#000000;font-family:Arial, Helvetica, sans-serif;"><SPAN/></SPAN></DIV><DIV STYLE="text-align:left;font-size:30px;"><SPAN STYLE="display:inline-block; letter-spacing:0px; white-space:pre-wrap;color:#000000;font-family:Arial, Helvetica, sans-serif;"><SPAN STYLE="font-size:30px;">Reproduktion</SPAN></SPAN></DIV><DIV STYLE="text-align:left;font-size:30px;"><SPAN STYLE="display:inline-block; letter-spacing:0px; white-space:pre-wrap;color:#000000;font-family:Arial, Helvetica, sans-serif;"><SPAN STYLE="font-size:30px;">Brooklyn Public Library</SPAN></SPAN></DIV></BODY></HTML></div>
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htmlText_1E69B42E_3A68_1EBF_41A6_53DB32C41CED.html = <div style="text-align:left; color:#000; "><HTML><BODY><DIV STYLE="text-align:left;font-size:30px;"><SPAN STYLE="display:inline-block; letter-spacing:0px; white-space:pre-wrap;color:#000000;font-family:Arial, Helvetica, sans-serif;"><SPAN STYLE="font-size:30px;">Tagebuch von Gertrud Zeisl</SPAN></SPAN></DIV><DIV STYLE="text-align:left;font-size:30px;"><SPAN STYLE="display:inline-block; letter-spacing:0px; white-space:pre-wrap;color:#000000;font-family:Arial, Helvetica, sans-serif;"><SPAN STYLE="font-size:30px;">Eintrag zur Begegnung mit Arnold Schönberg,</SPAN></SPAN></DIV><DIV STYLE="text-align:left;font-size:30px;"><SPAN STYLE="display:inline-block; letter-spacing:0px; white-space:pre-wrap;color:#000000;font-family:Arial, Helvetica, sans-serif;"><SPAN STYLE="font-size:30px;">2. November 1945</SPAN></SPAN></DIV><DIV STYLE="text-align:left;"><SPAN STYLE="display:inline-block; letter-spacing:0px; white-space:pre-wrap;color:#000000;font-family:Arial, Helvetica, sans-serif;"><SPAN/></SPAN></DIV><DIV STYLE="text-align:left;font-size:30px;"><SPAN STYLE="display:inline-block; letter-spacing:0px; white-space:pre-wrap;color:#000000;font-family:Arial, Helvetica, sans-serif;"><SPAN STYLE="font-size:30px;">Nachlass Erich Zeisi, Archiv des Exilarte Zentrum der mdw</SPAN></SPAN></DIV></BODY></HTML></div>
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htmlText_6105F4D0_330D_45E1_41C2_C77250E1F41D.html = <div style="text-align:left; color:#000; "><HTML><BODY><DIV STYLE="text-align:left;font-size:30px;"><SPAN STYLE="display:inline-block; letter-spacing:0px; white-space:pre-wrap;color:#000000;font-family:Arial, Helvetica, sans-serif;"><SPAN STYLE="font-size:30px;">The Cocoanut Grove, ein beliebter Nachtclub im Hotel Ambassador in Los Angeles, der sowohl der populären als auch der klassischen Musik eine illustre Spielstätte war. So dirigierte Arnold Schönberg hier etwa 1938 die Premiere von Kol Nidre. </SPAN></SPAN></DIV><DIV STYLE="text-align:left;font-size:30px;"><SPAN STYLE="display:inline-block; letter-spacing:0px; white-space:pre-wrap;color:#000000;font-family:Arial, Helvetica, sans-serif;"><SPAN STYLE="font-size:30px;">Ansichtskarte</SPAN></SPAN></DIV><DIV STYLE="text-align:left;"><SPAN STYLE="display:inline-block; letter-spacing:0px; white-space:pre-wrap;color:#000000;font-family:Arial, Helvetica, sans-serif;"><SPAN/></SPAN></DIV><DIV STYLE="text-align:left;font-size:30px;"><SPAN STYLE="display:inline-block; letter-spacing:0px; white-space:pre-wrap;color:#000000;font-family:Arial, Helvetica, sans-serif;"><SPAN STYLE="font-size:30px;">Reproduktion</SPAN></SPAN></DIV><DIV STYLE="text-align:left;font-size:30px;"><SPAN STYLE="display:inline-block; letter-spacing:0px; white-space:pre-wrap;color:#000000;font-family:Arial, Helvetica, sans-serif;"><SPAN STYLE="font-size:30px;">Archiv des Exilarte Zentrum der mdw</SPAN></SPAN></DIV></BODY></HTML></div>
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htmlText_17ABAE25_331A_C4A3_41A5_6DFE8EAE2254.html = <div style="text-align:left; color:#000; "><HTML><BODY><DIV STYLE="text-align:left;font-size:30px;"><SPAN STYLE="display:inline-block; letter-spacing:0px; white-space:pre-wrap;color:#000000;font-family:Arial, Helvetica, sans-serif;"><SPAN STYLE="font-size:30px;">„compositeur autrichien de grand talent“</SPAN></SPAN></DIV><DIV STYLE="text-align:left;font-size:30px;"><SPAN STYLE="display:inline-block; letter-spacing:0px; white-space:pre-wrap;color:#000000;font-family:Arial, Helvetica, sans-serif;"><SPAN STYLE="font-size:30px;">Empfehlungsschreiben von Darius Milhaud für Erich Zeisl, 5. Jänner 1939 </SPAN></SPAN></DIV><DIV STYLE="text-align:left;"><SPAN STYLE="display:inline-block; letter-spacing:0px; white-space:pre-wrap;color:#000000;font-family:Arial, Helvetica, sans-serif;"><SPAN/></SPAN></DIV><DIV STYLE="text-align:left;font-size:30px;"><SPAN STYLE="display:inline-block; letter-spacing:0px; white-space:pre-wrap;color:#000000;font-family:Arial, Helvetica, sans-serif;"><SPAN STYLE="font-size:30px;">Nachlass Erich Zeisl, Archiv des Exilarte Zentrum der mdw</SPAN></SPAN></DIV></BODY></HTML></div>
htmlText_F4F2AF04_A068_9ADC_41CB_4BFEFD247CFE.html = <div style="text-align:left; color:#000; "><HTML><BODY><DIV STYLE="text-align:left;font-size:30px;"><SPAN STYLE="display:inline-block; letter-spacing:0px; white-space:pre-wrap;color:#000000;font-family:Arial, Helvetica, sans-serif;"><SPAN STYLE="font-size:30px;">„mir ist so trostlos zu Mute“</SPAN></SPAN></DIV><DIV STYLE="text-align:left;font-size:30px;"><SPAN STYLE="display:inline-block; letter-spacing:0px; white-space:pre-wrap;color:#000000;font-family:Arial, Helvetica, sans-serif;"><SPAN STYLE="font-size:30px;">Brief von Erich Zeisl an Hilde Spiel, 3. Mai 1938</SPAN></SPAN></DIV></BODY></HTML></div>
htmlText_8E534900_2E65_52A3_4151_85F39306AB00.html = <div style="text-align:left; color:#000; "><HTML><BODY><DIV STYLE="text-align:left;font-size:30px;"><SPAN STYLE="display:inline-block; letter-spacing:0px; white-space:pre-wrap;color:#000000;font-family:Arial, Helvetica, sans-serif;"><SPAN STYLE="font-size:30px;">„ohne Übertreibung gesprochen der begabteste Schüler, den ich je hatte“</SPAN></SPAN></DIV><DIV STYLE="text-align:left;font-size:30px;"><SPAN STYLE="display:inline-block; letter-spacing:0px; white-space:pre-wrap;color:#000000;font-family:Arial, Helvetica, sans-serif;"><SPAN STYLE="font-size:30px;">„Bestätigung“ für Erich Zeisl von Richard Stöhr, 23. Mai 1938 </SPAN></SPAN></DIV><DIV STYLE="text-align:left;"><SPAN STYLE="display:inline-block; letter-spacing:0px; white-space:pre-wrap;color:#000000;font-family:Arial, Helvetica, sans-serif;"><SPAN/></SPAN></DIV><DIV STYLE="text-align:left;font-size:30px;"><SPAN STYLE="display:inline-block; letter-spacing:0px; white-space:pre-wrap;color:#000000;font-family:Arial, Helvetica, sans-serif;"><SPAN STYLE="font-size:30px;">Nachlass Erich Zeisl, Archiv des Exilarte Zentrum der mdw</SPAN></SPAN></DIV></BODY></HTML></div>
htmlText_9DEDFDAC_A48B_4667_41B5_208E845FB099.html = <div style="text-align:left; color:#000; "><DIV STYLE="text-align:left;font-size:30px;"><SPAN STYLE="display:inline-block; letter-spacing:0px; white-space:pre-wrap;color:#000000;font-family:Arial, Helvetica, sans-serif;"><SPAN STYLE="font-size:30px;"><B>Arnold Schönberg/Schoenberg</B></SPAN></SPAN></DIV><p STYLE="margin:0; line-height:30px;"><BR STYLE="display:inline-block; letter-spacing:0px; white-space:pre-wrap;color:#000000;font-size:16px;font-family:Arial, Helvetica, sans-serif;"/></p><DIV STYLE="text-align:left;font-size:30px;"><SPAN STYLE="display:inline-block; letter-spacing:0px; white-space:pre-wrap;color:#000000;font-family:Arial, Helvetica, sans-serif;"><SPAN STYLE="font-size:30px;">1874 Vienna – 1951 Los Angeles</SPAN></SPAN></DIV><p STYLE="margin:0; line-height:30px;"><BR STYLE="display:inline-block; letter-spacing:0px; white-space:pre-wrap;color:#000000;font-size:16px;font-family:Arial, Helvetica, sans-serif;"/></p><DIV STYLE="text-align:left;font-size:30px;"><SPAN STYLE="display:inline-block; letter-spacing:0px; white-space:pre-wrap;color:#000000;font-family:Arial, Helvetica, sans-serif;"><SPAN STYLE="font-size:30px;">Eric Zeisl only met Arnold Schoenberg once, at a party given by Erich Lachmann in Los Angeles in 1945. Schoenberg would never have guessed that the Zeisl and Schoenberg families would one day be related by marriage: in 1965, his son Ronald got wed to Zeisl’s daughter Barbara. Schoenberg did not live to see this union of the two families. Musically, Zeisl and Schoenberg were exceedingly far apart but paid respect to one another. Having abandoned traditional tonality and invented twelve-tone music made Schoenberg the most controversial composer of the early twentieth century. His transition to dodecaphony followed upon a period of expressive free atonality, which in turn came after a Late-Romantic phase rich in dissonances and sometimes with an impressionistic timbre that had left Schoenberg’s idol, Gustav Mahler, deeply impressed. Although living in Los Angeles, Schoenberg, like Krenek, would stay away from the film industry.</SPAN></SPAN></DIV></div>
htmlText_F4667354_A06B_E97C_41E2_465882224794.html = <div style="text-align:left; color:#000; "><DIV STYLE="text-align:left;font-size:30px;"><SPAN STYLE="display:inline-block; letter-spacing:0px; white-space:pre-wrap;color:#000000;font-family:Arial, Helvetica, sans-serif;"><SPAN STYLE="font-size:30px;"><B>Austria’s Annexation by Nazi Germany</B></SPAN></SPAN></DIV><p STYLE="margin:0; line-height:30px;"><BR STYLE="display:inline-block; letter-spacing:0px; white-space:pre-wrap;color:#000000;font-size:16px;font-family:Arial, Helvetica, sans-serif;"/></p><DIV STYLE="text-align:left;font-size:30px;"><SPAN STYLE="display:inline-block; letter-spacing:0px; white-space:pre-wrap;color:#000000;font-family:Arial, Helvetica, sans-serif;"><SPAN STYLE="font-size:30px;">On March 10, 1938, the Vienna Concert Orchestra gave a performance under conductor Rudolf Fellner in the reputed Ehrbar Hall; on the program was the premiere of Zeisl’s Scherzo and Fugue for String Orchestra. The event that would decide Austria’s fate was later noted in the composer’s hand on the concert announcement: “Hitler marching into Vienna.” Following the Anschluss, Austria’s annexation by Nazi Germany, the Zeisl family retreated to the spa town of Baden near Vienna, but by summer 1938, the local Nazi leadership issued an order requiring them to leave town within forty-eight hours. With no safe haven left in Austria for Jewish families, Zeisl sank into a deep depression: “Perhaps I will no longer be able to compose. It would be dreadful, and my life forfeited,” he wrote to his friend Hilde Spiel, then in exile in London, in a desperate letter in May 1938. In a remarkable stroke of fortune, the Zeisl family’s lives were saved by a stranger with the same surname: a “Zeisl” listed in the New York telephone directory sent an affidavit to Vienna, enabling them to escape to Paris after the pogrom of November 1938. A distant relative from Milwaukee later provided a second affidavit, which allowed the family to travel on to the United States.   </SPAN></SPAN></DIV></div>
htmlText_9FB57DD5_A4FD_4621_41E4_84020301EB4F.html = <div style="text-align:left; color:#000; "><DIV STYLE="text-align:left;font-size:30px;"><SPAN STYLE="display:inline-block; letter-spacing:0px; white-space:pre-wrap;color:#000000;font-family:Arial, Helvetica, sans-serif;"><SPAN STYLE="font-size:30px;"><B>Erich Wolfgang Korngold</B></SPAN></SPAN></DIV><p STYLE="margin:0; line-height:30px;"><BR STYLE="display:inline-block; letter-spacing:0px; white-space:pre-wrap;color:#000000;font-size:16px;font-family:Arial, Helvetica, sans-serif;"/></p><DIV STYLE="text-align:left;font-size:30px;"><SPAN STYLE="display:inline-block; letter-spacing:0px; white-space:pre-wrap;color:#000000;font-family:Arial, Helvetica, sans-serif;"><SPAN STYLE="font-size:30px;">1897 Brno/Brünn – 1957 Los Angeles</SPAN></SPAN></DIV><p STYLE="margin:0; line-height:30px;"><BR STYLE="display:inline-block; letter-spacing:0px; white-space:pre-wrap;color:#000000;font-size:16px;font-family:Arial, Helvetica, sans-serif;"/></p><DIV STYLE="text-align:left;font-size:30px;"><SPAN STYLE="display:inline-block; letter-spacing:0px; white-space:pre-wrap;color:#000000;font-family:Arial, Helvetica, sans-serif;"><SPAN STYLE="font-size:30px;">Erich Wolfgang Korngold was a celebrated musical prodigy; even his teenage works were performed in the opera houses of Vienna and Munich. No other composer saw as many performances of a work of his in his lifetime as Korngold did of his opera The Dead City. His father Julius was the most influential music critic of his day and a vehement supporter of Gustav Mahler at the Vienna Court Opera. Julius’s reverence and relentless journalistic support for Mahler and his overbearing behavior toward his son drove Erich Wolfgang into the world of operetta. He took a path that ultimately brought him to Los Angeles, where he embarked on a career as one of the principal composers for Warner Bros., which earned him two Oscars. He left the film studios as soon as the war was over but was never able to regain his former popularity. Back in Europe, his music was considered “old-fashioned” and “corrupted by Hollywood.” He died with a sense of having failed his life; today, though, he is again recognized as one of the leading composers of his generation. The Korngold and Zeisl families were close friends in Los Angeles.</SPAN></SPAN></DIV></div>
htmlText_99BB75C5_A48D_C621_41B4_CDC9443A8F8D.html = <div style="text-align:left; color:#000; "><DIV STYLE="text-align:left;font-size:30px;"><SPAN STYLE="display:inline-block; letter-spacing:0px; white-space:pre-wrap;color:#000000;font-family:Arial, Helvetica, sans-serif;"><SPAN STYLE="font-size:30px;"><B>Rudolf Kolisch</B></SPAN></SPAN></DIV><p STYLE="margin:0; line-height:30px;"><BR STYLE="display:inline-block; letter-spacing:0px; white-space:pre-wrap;color:#000000;font-size:16px;font-family:Arial, Helvetica, sans-serif;"/></p><DIV STYLE="text-align:left;font-size:30px;"><SPAN STYLE="display:inline-block; letter-spacing:0px; white-space:pre-wrap;color:#000000;font-family:Arial, Helvetica, sans-serif;"><SPAN STYLE="font-size:30px;">1896 Klamm (Austria-Hungary) – 1978 Watertown, Massachusetts</SPAN></SPAN></DIV><p STYLE="margin:0; line-height:30px;"><BR STYLE="display:inline-block; letter-spacing:0px; white-space:pre-wrap;color:#000000;font-size:16px;font-family:Arial, Helvetica, sans-serif;"/></p><DIV STYLE="text-align:left;font-size:30px;"><SPAN STYLE="display:inline-block; letter-spacing:0px; white-space:pre-wrap;color:#000000;font-family:Arial, Helvetica, sans-serif;"><SPAN STYLE="font-size:30px;">Kolisch studied violin with Otakar Ševčík and composition with Franz Schreker at the Vienna Music Academy (today, mdw—University of Music and Performing Arts Vienna). At the University of Vienna, he studied musicology under Guido Adler and took private composition lessons with his future brother-in-law Arnold Schoenberg. He was active in Schoenberg’s “Society for Private Musical Performances,” which resulted in the formation of the Vienna String Quartet, later renamed Kolisch Quartet and specializing on works of the Second Viennese School. The Quartet premiered many important works by Schoenberg, Webern, and Berg and also gained eminence through their first recordings of all of Schoenberg’s quartets. In 1942, Kolisch was able to immigrate to the United States, where he was first violinist in the Pro Arte Quartet from 1944 until 1965. He was considered a go-to authority on all matters relating to the performance practice of the Second Viennese School; he taught internationally and in the end headed the Chamber Music Department of the New England Conservatory of Music in Boston.</SPAN></SPAN></DIV></div>
htmlText_9B4D9E8E_A495_C223_41CC_4EC68B2B53BA.html = <div style="text-align:left; color:#000; "><DIV STYLE="text-align:left;font-size:30px;"><SPAN STYLE="display:inline-block; letter-spacing:0px; white-space:pre-wrap;color:#000000;font-family:Arial, Helvetica, sans-serif;"><SPAN STYLE="font-size:30px;"><B>Walter Bricht </B></SPAN></SPAN></DIV><p STYLE="margin:0; line-height:30px;"><BR STYLE="display:inline-block; letter-spacing:0px; white-space:pre-wrap;color:#000000;font-size:16px;font-family:Arial, Helvetica, sans-serif;"/></p><DIV STYLE="text-align:left;font-size:30px;"><SPAN STYLE="display:inline-block; letter-spacing:0px; white-space:pre-wrap;color:#000000;font-family:Arial, Helvetica, sans-serif;"><SPAN STYLE="font-size:30px;">1904 Vienna – 1970 Bloomington, Indiana</SPAN></SPAN></DIV><p STYLE="margin:0; line-height:30px;"><BR STYLE="display:inline-block; letter-spacing:0px; white-space:pre-wrap;color:#000000;font-size:16px;font-family:Arial, Helvetica, sans-serif;"/></p><DIV STYLE="text-align:left;font-size:30px;"><SPAN STYLE="display:inline-block; letter-spacing:0px; white-space:pre-wrap;color:#000000;font-family:Arial, Helvetica, sans-serif;"><SPAN STYLE="font-size:30px;">Walter Bricht was considered Franz Schmidt’s most talented pupil. From a young age, he made frequent appearances in Vienna as a pianist, composer, conductor, and organist. With backing from conductor Leopold Reichwein, he saw his orchestral works performed throughout Nazi Germany at a time when his contemporary Erich Zeisl was blacklisted as a Jew. Plans for the premiere of Bricht’s Second Piano Concerto and his Symphony in A Minor op. 33 with the Vienna Philharmonic under Clemens Krauss came to a halt when it emerged that, unbeknown to the composer, he was labelled Jewish under Nazi racial laws. Bricht was close to pianist Paul Wittgenstein and had composed commissioned chamber music and solo works for the left hand, one of which he completed after his arrival in America. Unlike Zeisl, though, Bricht lost the motivation to compose in his U.S. exile home and only returned to writing music in his final years when teaching at Indiana University’s School of Music.</SPAN></SPAN></DIV></div>
htmlText_DDF5411C_A098_66EC_41E0_CFB0AFCFC153.html = <div style="text-align:left; color:#000; "><DIV STYLE="text-align:left;font-size:30px;"><SPAN STYLE="display:inline-block; letter-spacing:0px; white-space:pre-wrap;color:#000000;font-family:Arial, Helvetica, sans-serif;"><SPAN STYLE="font-size:30px;"><I>Aufbau, </I></SPAN><SPAN STYLE="font-size:30px;">5. Jänner 1945</SPAN></SPAN></DIV><DIV STYLE="text-align:left;font-size:30px;"><SPAN STYLE="display:inline-block; letter-spacing:0px; white-space:pre-wrap;color:#000000;font-family:Arial, Helvetica, sans-serif;"><SPAN STYLE="font-size:30px;">Hans Kafka führte die Kolumne „Hollywood Calling - Hans Kafka Speaking“, hier mit einem Portrait Kafkas.</SPAN></SPAN></DIV><p STYLE="margin:0; line-height:30px;"><BR STYLE="display:inline-block; letter-spacing:0px; white-space:pre-wrap;color:#000000;font-size:16px;font-family:Arial, Helvetica, sans-serif;"/></p><DIV STYLE="text-align:left;font-size:30px;"><SPAN STYLE="display:inline-block; letter-spacing:0px; white-space:pre-wrap;color:#000000;font-family:Arial, Helvetica, sans-serif;"><SPAN STYLE="font-size:30px;">Reproduktion</SPAN></SPAN></DIV><DIV STYLE="text-align:left;font-size:30px;"><SPAN STYLE="display:inline-block; letter-spacing:0px; white-space:pre-wrap;color:#000000;font-family:Arial, Helvetica, sans-serif;"><SPAN STYLE="font-size:30px;">Deutsche Nationalbibliothek, Deutsches Exilarchiv 1933-1945, Frankfurt am Main  </SPAN></SPAN></DIV></div>
htmlText_D16FB536_9FA9_E93C_41D9_A1C00DA1F3AB.html = <div style="text-align:left; color:#000; "><DIV STYLE="text-align:left;font-size:30px;"><SPAN STYLE="display:inline-block; letter-spacing:0px; white-space:pre-wrap;color:#000000;font-family:Arial, Helvetica, sans-serif;"><SPAN STYLE="font-size:30px;"><I>Immer leiser wird mein Schlummer </I></SPAN><SPAN STYLE="font-size:30px;">(1927)</SPAN></SPAN></DIV><DIV STYLE="text-align:left;font-size:30px;"><SPAN STYLE="display:inline-block; letter-spacing:0px; white-space:pre-wrap;color:#000000;font-family:Arial, Helvetica, sans-serif;"><SPAN STYLE="font-size:30px;">Anna Clare Hauf, Mezzosopran</SPAN></SPAN></DIV><DIV STYLE="text-align:left;font-size:30px;"><SPAN STYLE="display:inline-block; letter-spacing:0px; white-space:pre-wrap;color:#000000;font-family:Arial, Helvetica, sans-serif;"><SPAN STYLE="font-size:30px;">Trung Sam, Klavier</SPAN></SPAN></DIV></div>
htmlText_D304D62E_9F98_AB2C_41A0_2132D76D92D4.html = <div style="text-align:left; color:#000; "><DIV STYLE="text-align:left;font-size:30px;"><SPAN STYLE="display:inline-block; letter-spacing:0px; white-space:pre-wrap;color:#000000;font-family:Arial, Helvetica, sans-serif;"><SPAN STYLE="font-size:30px;"><I>Immer leiser wird mein Schlummer</I></SPAN><SPAN STYLE="font-size:30px;"> (Juni 1927) </SPAN></SPAN></DIV><DIV STYLE="text-align:left;font-size:30px;"><SPAN STYLE="display:inline-block; letter-spacing:0px; white-space:pre-wrap;color:#000000;font-family:Arial, Helvetica, sans-serif;"><SPAN STYLE="font-size:30px;">Mit der Widmung „Frl. Hilde Spiel in Freundschaft zugeeignet“ </SPAN></SPAN></DIV><p STYLE="margin:0; line-height:30px;"><BR STYLE="display:inline-block; letter-spacing:0px; white-space:pre-wrap;color:#000000;font-size:16px;font-family:Arial, Helvetica, sans-serif;"/></p><DIV STYLE="text-align:left;font-size:30px;"><SPAN STYLE="display:inline-block; letter-spacing:0px; white-space:pre-wrap;color:#000000;font-family:Arial, Helvetica, sans-serif;"><SPAN STYLE="font-size:30px;">Autograph</SPAN></SPAN></DIV><DIV STYLE="text-align:left;font-size:30px;"><SPAN STYLE="display:inline-block; letter-spacing:0px; white-space:pre-wrap;color:#000000;font-family:Arial, Helvetica, sans-serif;"><SPAN STYLE="font-size:30px;">Nachlass Erich Zeisl, Archiv des Exilarte Zentrum der mdw</SPAN></SPAN></DIV></div>
htmlText_D5686DAD_9F9F_992C_4195_2A34565D646B.html = <div style="text-align:left; color:#000; "><DIV STYLE="text-align:left;font-size:30px;"><SPAN STYLE="display:inline-block; letter-spacing:0px; white-space:pre-wrap;color:#000000;font-family:Arial, Helvetica, sans-serif;"><SPAN STYLE="font-size:30px;"><I>Pierrot in der Flasche</I></SPAN><SPAN STYLE="font-size:30px;"> (1929)</SPAN></SPAN></DIV><DIV STYLE="text-align:left;font-size:30px;"><SPAN STYLE="display:inline-block; letter-spacing:0px; white-space:pre-wrap;color:#000000;font-family:Arial, Helvetica, sans-serif;"><SPAN STYLE="font-size:30px;">4. Satz: Tanz der fliegenden Teufel</SPAN></SPAN></DIV><DIV STYLE="text-align:left;font-size:30px;"><SPAN STYLE="display:inline-block; letter-spacing:0px; white-space:pre-wrap;color:#000000;font-family:Arial, Helvetica, sans-serif;"><SPAN STYLE="font-size:30px;">Radio-Symphonieorchester Wien, Johannes Wildner </SPAN></SPAN></DIV></div>
htmlText_296AF695_A1A8_6BFC_41D8_460F7714D973.html = <div style="text-align:left; color:#000; "><DIV STYLE="text-align:left;font-size:30px;"><SPAN STYLE="display:inline-block; letter-spacing:0px; white-space:pre-wrap;color:#000000;font-family:Arial, Helvetica, sans-serif;"><SPAN STYLE="font-size:30px;"><I>The 92nd Psalm – Requiem Ebraico</I></SPAN><SPAN STYLE="font-size:30px;"> (1944/45)</SPAN></SPAN></DIV><p STYLE="margin:0; line-height:30px;"><BR STYLE="display:inline-block; letter-spacing:0px; white-space:pre-wrap;color:#000000;font-size:16px;font-family:Arial, Helvetica, sans-serif;"/></p><DIV STYLE="text-align:left;font-size:30px;"><SPAN STYLE="display:inline-block; letter-spacing:0px; white-space:pre-wrap;color:#000000;font-family:Arial, Helvetica, sans-serif;"><SPAN STYLE="font-size:30px;">Transparente Druckvorlage, Manuskript</SPAN></SPAN></DIV><DIV STYLE="text-align:left;font-size:30px;"><SPAN STYLE="display:inline-block; letter-spacing:0px; white-space:pre-wrap;color:#000000;font-family:Arial, Helvetica, sans-serif;"><SPAN STYLE="font-size:30px;">Nachlass Erich Zeisl, Archiv des Exilarte Zentrum der mdw</SPAN></SPAN></DIV></div>
htmlText_20486B92_A198_79F4_41D1_306812BCB48A.html = <div style="text-align:left; color:#000; "><DIV STYLE="text-align:left;font-size:30px;"><SPAN STYLE="display:inline-block; letter-spacing:0px; white-space:pre-wrap;color:#000000;font-family:Arial, Helvetica, sans-serif;"><SPAN STYLE="font-size:30px;"><U>„Listen to his music!“</U></SPAN></SPAN></DIV><DIV STYLE="text-align:left;font-size:30px;"><SPAN STYLE="display:inline-block; letter-spacing:0px; white-space:pre-wrap;color:#000000;font-family:Arial, Helvetica, sans-serif;"><SPAN STYLE="font-size:30px;">Empfehlung für Zeisl von Hanns Eisler an den Regisseur Herbert Kline, 2. Juli 1942</SPAN></SPAN></DIV><p STYLE="margin:0; line-height:30px;"><BR STYLE="display:inline-block; letter-spacing:0px; white-space:pre-wrap;color:#000000;font-size:16px;font-family:Arial, Helvetica, sans-serif;"/></p><DIV STYLE="text-align:left;font-size:30px;"><SPAN STYLE="display:inline-block; letter-spacing:0px; white-space:pre-wrap;color:#000000;font-family:Arial, Helvetica, sans-serif;"><SPAN STYLE="font-size:30px;">Nachlass Erich Zeisl, Archiv des Exilarte Zentrum der mdw</SPAN></SPAN></DIV></div>
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htmlText_23A523A7_A198_A9DC_41D4_B71ECB9636EA.html = <div style="text-align:left; color:#000; "><DIV STYLE="text-align:left;font-size:30px;"><SPAN STYLE="display:inline-block; letter-spacing:0px; white-space:pre-wrap;color:#000000;font-family:Arial, Helvetica, sans-serif;"><SPAN STYLE="font-size:30px;">Ein außergewöhnliches Event im Dezember 1946: Der Palestine Emergency Fund organisierte </SPAN><SPAN STYLE="font-size:30px;"><I>That we may live</I></SPAN><SPAN STYLE="font-size:30px;"> als Collage zur Vertreibung jüdischer Menschen aus Europa. Korngold war als Komponist und Dirigent der Oper </SPAN><SPAN STYLE="font-size:30px;"><I>Die tote Stadt</I></SPAN><SPAN STYLE="font-size:30px;"> eingebunden, von Zeisl stand Musik aus </SPAN><SPAN STYLE="font-size:30px;"><I>Hiob</I></SPAN><SPAN STYLE="font-size:30px;"> auf dem Programm. Berlin, Genua, London, Zuchnow (der fiktive polnische Heimatort der Hiob-Romanfigur), Buchenwald und Wien waren die Stationen des Geschehens. Mit dem Sujet </SPAN><SPAN STYLE="font-size:30px;"><I>Before the Gates of Palestine</I></SPAN><SPAN STYLE="font-size:30px;"> endete das Spektakel in zionistischer Botschaft. </SPAN></SPAN></DIV><p STYLE="margin:0; line-height:30px;"><BR STYLE="display:inline-block; letter-spacing:0px; white-space:pre-wrap;color:#000000;font-size:16px;font-family:Arial, Helvetica, sans-serif;"/></p><DIV STYLE="text-align:left;font-size:30px;"><SPAN STYLE="display:inline-block; letter-spacing:0px; white-space:pre-wrap;color:#000000;font-family:Arial, Helvetica, sans-serif;"><SPAN STYLE="font-size:30px;">Reproduktion</SPAN></SPAN></DIV><DIV STYLE="text-align:left;font-size:30px;"><SPAN STYLE="display:inline-block; letter-spacing:0px; white-space:pre-wrap;color:#000000;font-family:Arial, Helvetica, sans-serif;"><SPAN STYLE="font-size:30px;">Nachlass Erich Zeisl, Archiv des Exilarte Zentrum der mdw</SPAN></SPAN></DIV></div>
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htmlText_2334489D_A06B_E7EC_41C9_C587DACFEC7C.html = <div style="text-align:left; color:#000; "><DIV STYLE="text-align:left;font-size:30px;"><SPAN STYLE="display:inline-block; letter-spacing:0px; white-space:pre-wrap;color:#000000;font-family:Arial, Helvetica, sans-serif;"><SPAN STYLE="font-size:30px;">Eine „terrific chance“: Hans Kafka holte Zeisl nach Hollywood.</SPAN></SPAN></DIV></div>
htmlText_2D144CDD_A1A8_7F6C_41CE_5B8B51233129.html = <div style="text-align:left; color:#000; "><DIV STYLE="text-align:left;font-size:30px;"><SPAN STYLE="display:inline-block; letter-spacing:0px; white-space:pre-wrap;color:#000000;font-family:Arial, Helvetica, sans-serif;"><SPAN STYLE="font-size:30px;">Erich Zeisl und Tochter Barbara am Will Rogers Beach, ca. 1947</SPAN></SPAN></DIV><p STYLE="margin:0; line-height:30px;"><BR STYLE="display:inline-block; letter-spacing:0px; white-space:pre-wrap;color:#000000;font-size:16px;font-family:Arial, Helvetica, sans-serif;"/></p><DIV STYLE="text-align:left;font-size:30px;"><SPAN STYLE="display:inline-block; letter-spacing:0px; white-space:pre-wrap;color:#000000;font-family:Arial, Helvetica, sans-serif;"><SPAN STYLE="font-size:30px;">Während Hilde Spiel aus Österreich berichtete, lebten die Zeisls unter großem Heimweh im kalifornischen Exil. Die Tochter Barbara war das Lebensglück der Familie, Erfüllung fand Erich Zeisl im Unterricht am Los Angeles City College. Zum 50. Geburtstag ihres Freundes verfasste Hilde Spiel einen Text für die Zeitung </SPAN><SPAN STYLE="font-size:30px;"><I>Neues Österreich</I></SPAN><SPAN STYLE="font-size:30px;"> und nannte Zeisl „Wiens verlorenen Sohn in der Fremde“. Ohne jemals wieder nach Österreich zurückgekehrt zu sein, verstarb Erich Zeisl 1959 in Los Angeles. </SPAN></SPAN></DIV><p STYLE="margin:0; line-height:30px;"><BR STYLE="display:inline-block; letter-spacing:0px; white-space:pre-wrap;color:#000000;font-size:16px;font-family:Arial, Helvetica, sans-serif;"/></p><DIV STYLE="text-align:left;font-size:30px;"><SPAN STYLE="display:inline-block; letter-spacing:0px; white-space:pre-wrap;color:#000000;font-family:Arial, Helvetica, sans-serif;"><SPAN STYLE="font-size:30px;">Nachlass Erich Zeisl, Archiv des Exilarte Zentrum der mdw</SPAN></SPAN></DIV></div>
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htmlText_C932B677_A098_AB3C_41E3_5EFC91BF437B.html = <div style="text-align:left; color:#000; "><DIV STYLE="text-align:left;font-size:30px;"><SPAN STYLE="display:inline-block; letter-spacing:0px; white-space:pre-wrap;color:#000000;font-family:Arial, Helvetica, sans-serif;"><SPAN STYLE="font-size:30px;">Théâtre Pigalle, Paris</SPAN></SPAN></DIV><DIV STYLE="text-align:left;font-size:30px;"><SPAN STYLE="display:inline-block; letter-spacing:0px; white-space:pre-wrap;color:#000000;font-family:Arial, Helvetica, sans-serif;"><SPAN STYLE="font-size:30px;">Fotolithographie aus 1931</SPAN></SPAN></DIV><p STYLE="margin:0; line-height:30px;"><BR STYLE="display:inline-block; letter-spacing:0px; white-space:pre-wrap;color:#000000;font-size:16px;font-family:Arial, Helvetica, sans-serif;"/></p><DIV STYLE="text-align:left;font-size:30px;"><SPAN STYLE="display:inline-block; letter-spacing:0px; white-space:pre-wrap;color:#000000;font-family:Arial, Helvetica, sans-serif;"><SPAN STYLE="font-size:30px;">Reproduktion</SPAN></SPAN></DIV><DIV STYLE="text-align:left;font-size:30px;"><SPAN STYLE="display:inline-block; letter-spacing:0px; white-space:pre-wrap;color:#000000;font-family:Arial, Helvetica, sans-serif;"><SPAN STYLE="font-size:30px;">Archiv des Exilarte Zentrum der mdw </SPAN></SPAN></DIV></div>
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## Tour

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tour.name = Erich Zeisl Ausstellung 2025 im Exilarte Zentrum der mdw