WALTER BRAUNFELS (1882–1954)

WALTER BRAUNFELS
(1882–1954)
An exhibition of the Walter-Braunfels-Association
In collaboration with the Deutsche Oper Berlin
To mark the debut performance
„Jeanne d‘Arc – Szenen aus dem Leben der Heiligen Johanna“
Content
Foreword
5
Walter Braunfels,
celebrated opera composer of the Twenties
6
Symphonic and
vocal symphonic works and their interpreters
24
Last successes as opera composer –
the creative years in forced isolation –
Rediscovery of the composer
Walter Braunfels worldwide
42
Chronology
64
Bibliography
68
Picture credits
70
Acknowledgement
71
Imprint
72
Foreword
Walter Braunfels originated from an old Jewish family in the Frankfurt am
Main Region. After his move to Munich, he became a musician under the
influence of Felix Mottl. Bruno Walter established the opera „Die Vögel“as
one of the most successful premieres held at the Munich National Theatre
in the 20th century. These were followed by the premieres of “Te Deum”
and the “Großen Messe” in Cologne, as well as the Opera “Don Gil von
den grünen Hosen”, directed by Hans Knappertsbusch in Munich. Suddenly,
next to Strauss and Schreker, Walter Braunfels was crowned as being one
of the most performed composers of the early twenties.
In 1923, Adolf Hitler demanded my grandfather to compose the anthem of
the Nationalist Socialist movement, which he absolutely refused. A few
years later, the Nazi’s took over the power in Germany and forced Walter
Braunfels to give up his position at the Music Academy in Cologne. The
years following, he was banned to compose and perform musical works of
art.
Due to the strong opposition he faced after his banishment from the public
musical stage and my grandfather‘s withdrawal into the inner migration, he
gained in extraordinary creative strength. His concentration was directed
to religious subjects, which gave him the strength to endure the years of
banality and brutality. Inspired by this period of his life, he composed his
three „inaudible operas“ - “Verkündigungen”, „Jeanne d’Arc, Szenen aus
dem Leben der Heiligen Johanna“ and „Der Traum ein Leben“. In addition
to the operas he composed a cantata cycle for the festivals of the Christian
year, four orchestra song cycles, three string quartets and the meaningful
string quintet.
Nonetheless, the twelve years of banishment during the Nazi regime, were
followed by nearly 60 years of ostracism and exclusion. Up until a few years
ago, the late romanticist Walter Braunfels remained forgotten. Now a new
generation of open-minded and unprejudiced have discovered what in 1930,
Alfred Einstein characterised as: “timelessly unfashionable”.
On December 19th 2007, in memorial of Walter Braunfels 125th Birthday,
the Walter-Braunfels-Association met to advocate and honour his music in
future, as well as the inspiration the late romanticist proved to be. Many
of his works have not been performed since 1933, of some not even performance material exists.
Stephan Braunfels
Youth and academic years
Walter Braunfels originated from a Jewish family, situated in Frankfurt am
Main. During the early years of his fathers life, Ludwig (actually Lazarus)
Braunfels, he converted from the Jewish to the Protestant belief. The
successful lawyer, teacher of Romance language/literature worked for the
Frankfurter Zeitung and created lasting translations of the “Nibelungen”
songs, as well as of “Don Quijote”, both which exist to this day. In 1866, he
married his second wife Helene Spohr, grandniece of the composer Louis
Spohr. Walter Braunfels was the youngest of four children to come out of
this marriage.
Initially his mother gave him piano lessons, which was later expanded in
the course of his training at the Hoch’schen Konservatorium by the pianist
James Kwast and Iwan Knorr (Theory). The decision to dedicate his entire life
to music was made in 1902 in Munich, after the overwhelming impression
of watching the performance of Felix Mottl’s “Tristan und Isolde”.
Walter Braunfels quickly gave up his law studies to pursue working for
the pianist Theodor Leschetitzky in Vienna. Karl Nawratil, as well as the
Master of the New Romanticism School in Munich, Ludwig Thuille, gave
Walter Braunfels lessons in composing. In the course of this traineeship
at Felix Mottl‘s, he was able to gain valuable experience with compositions by Berlioz and Bruckner. For the librettist Walter Braunfels, effective
incitement was received by Karl Wolfskehl from the George circle.
In 1905 Braunfels was acquainted with the sculptor Adolf von Hildebrand
and fell in love with the youngest of his daughters Bertel, who was musically
gifted and taught by Max Regner. However, Bertel was at the time engaged
to Wilhelm Furtwängler.
1
Father Ludwig Braunfels (1810–1885 ), 1866
2
Mother Helene Braunfels, born Spohr (1842–1920)
with her youngest son Walter
3
Walter Braunfels (1882–1954), 1902
4
Bertele von Hildebrand (1886–1963)
Walter Braunfels subsequent wife, around 1905
6
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„Prinzessin Brambilla“, 1909
With Braunfels‘ initial genious pitch, the opera „Prinzessin Brambilla“ op.
12 landed a success. Originally it was narrated by E.T.A. Hoffmann, whose
libretto Braunfels had written on his own. Both Felix Mottl and Max von
Schillings, successful conductors at the time, competed for the premiere
rights. The prelude for the 2nd act had already taken place under Mottl’s lead
in November of 1907 in collaboration with the Royal Court orchestra. Once
the terms of agreement for the premiere at the National Theatre in Munich
were closed and certified, Max von Schillings wrote to the composer: “As
your consulting friend, I am pleased – as musical advisor of H.M.the King of
Wurttemberg I am in grief. It would have been my absolute pleasure to take
up the first cudgels for this opera. Now, hopefully, it shall be the second
ones. By no means am I backing out of the plan to bring this work of art to
Stuttgart and to perform this work in the upcoming season.”
As the rehearsals in Munich were strongly delayed, “Prinzessin Brambilla”
experienced its successful premiere in Stuttgarts Court Theatre on March
25th 1909, under the lead of Max von Schillings.
1
Piano score of the opera „Prinzessin Brambilla“
cover page (design by R. Leonhard), Berlin 1909
2
Max von Schillings, (Düren 1868–1933 Berlin)
1908 –1918 general music director at the Royal Court Theatre Stuttgart
conductor of the premiere held in Stuttgart
3
Felix Mottl (Unter–St. Veit/Wien 1856–1911 München)
1904–1911 Royal Bavarian general music director
conductor of debut performance in Munich
4
„Prinzessin Brambilla, Heitere Oper in fünf Szenen“ op. 12
1906–1908, script, I. act, 1. scene
Munich, Bavarian National Library
8
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„Die Vögel“, 1920
Bruno Walter made the opening night of ”Die Vögel“ at Munich’s National
Theatre one of the most successful in the 20th century. “It will be a touchstone for the audience, not for the work, to decide if the success will
be long lived” was the judgement of the well-known music critic Alfred
Einstein, because he did not believe „that the German opera stage has ever
seen such a piece of art than this „lyric-phantastic play according to Aristophanes“, the third work by Walter Braunfels. A marvellous piece of art that
like no other demands the vivid representation, the visibility of the stage,
which does nonetheless than following an „opera story plot“; a work, which
- upon first consideration appears to address the small community of people
with a certain thrive for art, however it is born from an artistic mind and
addresses everyone equally … It can and must be considered as a work by
an artist, not as an artistic drama – compared with the „Meistersinger“ and
the “Palestrina” by Pfitzner, the grandest national German music drama,
the transfiguration of a world, which we glance upon like a lost paradise.
`Palestrina` witnesses the romantic pessimism, self-centered, narrow,
valedictory and tired. “Die Vögel” however is a work of yearning after the
pure kingdom of fantasy, the art and the poetry, at the same fulfilling the
desires, a leap into timelessness and anti-trend – an absolute work of
an artist which a German musician – around and after 1914- must have
written”.
Play bill for the opening night of the opera „Die Vögel“
at the Bavarian National Theatre on 30 November 1920
10
„Die Vögel“, 1920
During the period in which Bruno Walter belonged to the ensemble of the
Munich National Theatre, it was counted as being the most successful
opera house in the German speaking area. In 1922, when the conductor left,
Alfred Einstein noted that the members of the ensemble where by no means
“randomly placed, they were an ensemble impressed by a uniform spirit”.
With Maria Ivogün a singer was available for the role of Nightingale “as
she could not be thought of more perfect“ (Egon Wellesz), also for Alfred
Einstein, in the league of actors was “on top the Nightingale of Ivogün - in
fine one of a kind, that only elopes when nature, highest art and special
task joint in united in such a miraculous way”. During the rehearsals,
Maria Ivogün and Karl Erb, who played the role of her partner Hoffegut, got
engaged.
When Bruno Walter left to Berlin in 1925 Maria Ivogün followed him. Retrospectively, Bruno Walter described “Die Vögel“as being “one of the most
interesting innovations of his working era in Munich”. Alfred Einstein, a
critical observer of this period, summarized “Die Vögel” as being the most
“affectionate and accomplished performance originated by Bruno Walter,
filled with indescribable delicateness and abundance of colours, expressing
never-ending warmth and purity.”
1
Bruno Walter (Berlin 1876–1962 Beverly Hills, California)
1913–1922 general music director of the Bavarian National Theatre,
conductor of the premiere
2
Maria Ivogün (Budapest 1891–1987 Beatenberg, Switzerland)
soprano, from 1913–1925 member of the Bavarian National Theatre
3
Karl Erb (Ravensburg 1877–1958 Ravensburg)
tenor, from 1913–1925 member of the Bavarian National Theatre,
sung the role of „Hoffegut“ during the premiere
4
Maria Ivogün, „one of the most ingenious singers on the opera stage“
(Bruno Walter), as Nightingale during the opening night
at the Bavarian National Theatre
12
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„Die Vögel“, 1920
Delayed by the First World War, Walter Braunfels presented his third piece
of work “Die Vögel” in 1920 and celebrated his breakthrough as an opera
composer, enforcing the reputation he had already gained with his work
“Prinzessin Brambilla”, as being a very promising and emerging newcomer
talent. By 1914, nearly two thirds of the screenplay to “Die Vögel” existed,
however due to the war the completion took until 1919. After the opening
night in Munich, the reviewer Alfred Einstein was greatly impressed by the
musical elocution of the opera.
„One can see that this isn’t just a text and a story plot that are plainly
“composed“, to which one can make music. It’s a lot more than that; the text
is the soul of the music, picturesque, words and music are inseparable. The
big secret held within, is the fortune of personality, just to take an issue and
to which the music naturally and compassionately enters an affair. Overall
Braunfels has succeeded in moulding, overall and in detail his “play“ to
meet his personal musical needs. How full does yet the prelude hit the
enchanting, the romantic chord of the play at the sound which arises every
time the Nightingale appears and in the course of the second act, rises to
a sensual and spiritual love scene. A scene that - since the second act of
“Tristan“ - has never met the likes of it again! The similarity to Tristan even
continues: the climax of the scene, the song of the blossoming flowers does
not comprehend into exhilaration, it shades into mystery and silence, myth
– one of the many extraordinary gifts of this work”.
1
„Die Vögel“ op. 30, opera in two acts
according to Aristophanes comedy, 1913–1919
prologue, autographic script, layout
archive Bruse–Braunfels
2
Walter Braunfels, around 1920
3
Leo Pasetti, stage draft, opening night „Die Vögel“
Bavarian National Theatre, 30 November 1920
„First act: rocky mountain area with a lot of shrubs
not many trees, pictured at midday“
14
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„Die Vögel“, 1920
The enormous success of the opening night in Munich, resulted in Walter
Braunfels being crowned as one of the mostly played opera composers of
his generation in Germany and Austria. In the years following the opening
night, “Die Vögel” was performed on large stages such as in Berlin,
Stuttgart, Hamburg and Vienna, as well as many mid-sized opera houses
throughout Germany. The performance was conducted by the most significant conductor of the 20th century. One year after Bruno Walter conducted
the opening night in Munich, Otto Klemerer adopted “Die Vögel“ to the
Cologne opera house in which his wife, Johanna Geisler, sung the role of
Nightingale. This stage production, as well as “Der Schatzgräber” by Franz
Schrekers, was valued as being the most successful event held in Cologne
during 1921/22.
Even though Walter Braunfels succeeded a breakthrough as opera composer
with “Die Vögel“, this must not hide the fact that the period after the First
World War was not beneficial for new works of arts. Due to the inflation,
which culminated in the complete invalidation of the German currency in
1923, the opera houses lost their traditional guests. The decreased number
of visitors, as well as the reduced number of performances held, caused
aggravated circumstances for newly released performances. In order
to reach the necessary broad effect, it was essential to be classed as a
repertoire. Exemplary for the economic crisis of the time is the performance
of “Die Vögel” in Breslau on January 26th 1923, where the text books
persisted: Upon the opening night on 26 January 1923 they were charged
with 400 RM, whereas during the sixth performance in April of the same
year, the text book was already charged with 1500 RM. Hence, many opera
houses were temporarily closed down.
1
Otto Klemperer (Breslau 1885–1973 Zurich)
conductor of the debut performance in Cologne on 11 November 1921
2
Johanna Geisler (Hannover 1888–1956 München) Soprano
as Nightingale for the debut performance in Cologne
3
Scene photo „Die Vögel“, 1930/ 31
reopening of the opera in 1921
1 2
3
16
„Don Gil von den grünen Hosen“, 1924
On November 15th 1924, Hans Knappertsbush – Bruno Walter‘s successor
as General Musical Director at the Munich National Theatre - conducted
the debut performance of “Don Gil von den grünen Hosen”, which was
Walter Braunfels fourth opera. In the course of one season still, the musical
comedy experienced premieres in the State Theatre Stuttgart, in Barmen/
Elberfeld, Münster, Breslau, Hanover as well in Vienna. “Finally, in May,
our State Opera house presented an innovation to us … finally a work of
art, which tells the world about the new creativity in Germany. And look!
against all prophecies and reassurances (by the management board) that
Vienna was against a new modern opera, the performance was extremely
successful. “Don Gil von den grünen Hosen”, the new opera by Walter
Braunfels has helped to do so”, commented by Paul Stefan who was
Chief Publisher of the leading musician’s newspaper the Musikblätter des
Anbruch. Also Paul Amadeus Pisk, one of the founders of the association,
“Gesellschaft für Neue Musik” (Association for New Music) is quoted as
being happy with “the new start” the Vienna state opera boldly took with
performing „Don Gil“ and Braunfels perfect interpretation “will never see
the likes of it – in perfection”. “Think about the philharmonic orchestra,
the staff of exquisite singers and dancers … especially Lotte Lehmann as
Juana, voice of perfection, portraying the loving wife and the cooing squire,
both equally delightful”.
The echoes from Munich were just as appraising, the audience requested
the composers stage presence “who had been called even before the first
act ended”, with standing ovations and the final curtain call with “rapturous
applause for all actors and involved that united them countless times on
stage“.
1
Opening night of the opera „Don Gil von den grünen Hosen“
15 November 1924, play bill Bavarian National Theatre
2
Hans Knappertsbusch (Elberfeld 1888–1965 München)
1922–1935 general music director of the Bavarian National Theatre
conductor of the opening night
3
Lotte Lehmann (Perleberg 1888–1976 Santa Barbara, California)
soprano, sang Donna Juana on the opening night of Don Gil
in the Vienna state opera house on 5 May 1925
4
Karl Erb as Don Gil at the debut performance in Munich
18
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„Don Gil von den grünen Hosen“, 1924
In view of the upcoming premiere of „Don Gil“,Bruno Walter wrote to Walter
Braunfels in July 1924:„So! My friend Rudolf Krasselt, Director of the opera
house in Hanover and his Chief Director Dr. Winckelmann would be really
pleased to have the opening night of your “Gil” in Hanover. Yesterday I
solemnly promised both gentlemen to address the issue to you … Krasselt
is an exceptionally serious musician and conductor. As far as I have heard,
Winckelmann is considered an intellectually gifted director. Remains the
main question if the work can be occupied”. They could, nonetheless
Braunfels decided to host the opening night in Munich. Leo Pasetti was
the responsible costume designer in Munich, who was known to strongly
stress the aspect of the Commedia dell’arte. Pasetti had also created the
scenery for the performance of “Don Gil” at the opera house in Hanover on
28 March 1925, the costumes for the Hanover performance were created
by Hermann Ebert.
The scene shot, which was taken in October 1929 on the occasion of the
opera resumption after the general dress rehearsal, shows from left to right:
Max Adrian as Don Manuel (alias Don Gil), Wilhelm Patsche as Don Pedro
(Father of Donna Ines), Hertha Stolzenberg as Donna Ines, Gertrud Schmidt–
Gerlach as Donna Clara, Base von Ines.
The opening night photo in Munich shows from left to right:
Hedwig Fichtmüller as Donna Clara, Julius Gleß as Don Pedro, Karl Erb
as Don Manuel, Joseph Burgwinkel as Don Rodriguez, Elisabeth Feuge as
Donna Ines, Aline Sanden as Donna Juana.
1
Scene photo „Don Gil“, Städtische Oper Hannover, 4 Oktober 1929
reopening of the enactment in 1925/26, 1. act, picture 3, scene in the park
2
Scene photo „Don Gil“, Bavarian National Theatre
opening night on 15 November 1924, 2. act, 1. scene
20
1
2
„Don Gil von den grünen Hosen“, 1924
Walter Braunfels described his interpretation of the 17th century Spanish
comedy „Don Gil de las calzas verdes“ as being a “mix between cheerful
and serious”. The script was created between 1921 and 1923 basing on a
libretto by Braunfels. Subsequent to the opening night held in Munich in
November 1924, the opera was taken over by primary stages and held its
ground in the repertoires with eighteen performances throughout, between
Cologne and Königsberg.
In Vienna, Elsa Bienenfeld raved: “The melody blossomed and lances with a
fine theme the entire opera, as if it were a symphony … As the play draws
you deeper into the evening, the masquerade becomes a true parable and
the feeling in the air on the sceptic modern stage can be described as if the
blue flower of romance had started blossoming again”.
In the new production of his operas, which he frequently conducted himself,
he was equally personally involved. Walter Braunfels even attended the
dress rehearsal in Hanover of „Don Gil“ on its resumption. At this point, a
picture was taken, which shows all people involved in this opera. Only Leo
Pasetti, costume and stage designer for Hanover and Munich was missing.
1
After the dress rehearsal for the resumption of „Don Gil“ on 4 Oktober 1929
at Städtisches Opernhaus in Hanover, middle: conductor Rudolf Krasselt,
Walter Braunfels and the director Hans Winckelmann
2
„Don Gil von den grünen Hosen“ op. 35
Musical comedy in three acts, from the Spanish after
Tirso de Molino, 1921–1923, autograph script, prelude
Bavarian National Library
3
Leo Pasetti, stage design „Don Gil“, opening night
Bavarian National Theatre, 15 November 1924
I. act, 1. scene: „small courtyard in a suburb of Madrid.
on the side a small pub, with stairs leading up.
in the background a bridge, set at dusk“
22
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3
Symphonic and vocal symphonic works and
their interpreters
Walter Braunfels breakthrough in the concert halls, as well as an opera
composer, were affected by Bruno Walter‘s work in his role as General
Music Director in Munich. Their decades of close collaboration started
at the end of 1916, when young Delia Reinhardt changed from Breslau
to Munich. On glancing back into this period of his life, Walter frequently
mentioned “often the interest for strong characters when selecting artists
for my innovations and novelties”. In written correspondence to Walter
Braunfels, Walter stated: “Personally I am very pleased to be given the
opportunity to present your Chinese singings this season, now that I have
the appropriate singer. No doubt you have already heard many wonderful
things about Miss Reinhardt, who will sing… Hopefully you will find the
time to attend the performance”. On 13 March, Alfred Einstein reported
about the concert night at the Munich Odeon. This being the first of 37
reviews which the prominent music academic and critic Einstein dedicated,
until spring 1933 when both, Braunfels and Einstein were banned from the
musical life in Germany:
“The evening has indeed brought forth novelty, three Chinese singings for
high-pitched female voices and an orchestra (according to poems by Hans
Bethges Chinese flute) op. 19 by Walter Braunfels have already had, as far
as I know, their opening night at the Essener Tonkünsterfest in 1914 (Essen
music festival). No doubt, Braunfels was allured by the exotic, primitive,
strong, the complexion of the feeling and the lure of the colorit all equally.
However seldom have I experienced something as tender, veiled as both
singings of yearning something as perfectly cast as the third piece. It may be
studies, for my sake, consider them studies of Strauß, but they are studies
of a master. Justifiably Delia Reinhardt reached a triumph with her singing,
the accompanying orchestra by Walter was equally captivated magic”.
1
Home leave 1917, Walter Braunfels and his three children
2/3 „Drei chinesische Gesänge für hohe Frauenstimme und Orchester“ op. 19
conductor Bruno Walter, soloist Delia Reinhardt
programme of Munich‘s opening night on 12 March 1917
4
Delia Reinhardt (Elberfeld 1892–1974 Arlesheim, Switzerland)
Soprano, 1916–1923 member of the Bavarian National Theatre
24
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Symphonic and vocal symphonic works and
their interpreters
In the early twenties, Alfred Einstein described Braunfels in a report about
the modern music in Munich (for the magazine “Der Auftakt“) as “one of the
biggest talents that Germany has to offer”. The cornerstones of Einstein’s
legislation was the “turbulent choral composition as in “Offenbarung
Johannis cap.VI.””, which had its opening night in 1910 in the course of
the Tonkünstlerfest (Tone artist festival) Zurich, under the lead of Volkmare
Andreae.
Out of all the periodic composers, Braunfels valued Hans Pfitzner’s work the
most. Vice versa, Pfitzner was equally interested in the works of the young
Braunfels and he frequently expressed that he would enjoy leading the
opening night of one of his works. From Straßburg, where Pfitzner lead the
symphony concerts of the Straßburger Philharmoniker (Straßburg Philharmonic Orchestra), he wrote to Braunfels in October 1910: “Your Macbeth
interpretation has been duly received and it has been a great pleasure for
me to play them, but some notes leave me doubting.” On 19 October, he
addressed Braunfels once again: “I haven’t entirely given up on Macbeth
and it is my preferred choice, especially considering it would be a opening
night. Awaiting your reply of how the written material is coming along and
if you can provide for at least good and faultless voices”. Nonetheless,
Pfitzner never conducted an opening night of Braunfels, the supposed last
concert on whose occasion a work by Braunfels was played, was conducted
by Pfitzner in 1920 in Munich.
Closer and permanent connections developed between Braunfels and
the generation of same-aged conductors, which, like Fritz Busch before
and during the First World War, enhanced their concert programmes with
Braunfels music.
1
Hans Pfitzner (Moscow 1869–1949 Salzburg), composer and conductor
2
„Ariels Gesang“ op. 61, brochure of the premiere in Munich
on 25 February 1920, conductor Hans Pfitzner
3
„Offenbarung Johannis“ op. 17, autographic script, archive Bruse–Braunfels
4
Fritz Busch (Siegen 1890–1951 London), conducted the opening night of
„Die Vögel“ in Stutgart in 1921 and the Dresden opening night
of the „Don–Juan Variationen“ in 1927
26
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Symphonic and vocal symphonic works and
their interpreters
In reviewing the concert season 1919/20 in Munich, Alfred Einstein wrote
for the Frankfurter Zeitung that “two events were of first degree“: the
German premiere of ‘Fantastische Erscheinungen eines Themas von Hector
Berlioz‘ by Walter Braunfels‘ which I consider in short the most outstanding
symphonic work of the previous decade, as well as the Gurre-songs by
Arnold Schönberg…“ All in all, Braunfels has created „a magnificent
symphonic composition that can be compared with the closeness of a
building, a volume of content, a human experience, a musical event”. The
performance was a “true masterpiece by Bruno Walters and his orchestra,
staggering freedom and certainty, impact and acuteness, all at once”. The
dazzling effect upon critics and the audience was later tried to be reached
by Bruno Walter in Amsterdam and New York, while the composer considered after the success in Munich whom he wanted to entrust the opening
night in Berlin, the experienced grand old man Arthur Nikisch or the young
Wilhelm Furtwänger, who insistently addressed Braunfels: “I have just
received your telegram and according to your request, I shall instantly hand
out the manuscript to Nikisch. At this point however - after all performance
intententions that have fallen through - I would like to mention, you may
have heard the news already, that I will be taking over the concerts at
the Berlin opera house and would emphatically like stress that I would be
honored to hold the Berlin opening night … Should you intend to appoint
Nikisch, please allow me to object and state that you would be significantly better off assigning me considering correctness and quality of the
performance and experiences young composers have made in trusting N.
in general. Nonetheless, Braunfels decided for Nikisch, who conducted
his “Phantastische Erscheinungen“ with the Berlin Philharmonic and the
Gewandhausorchester (concert hall orchestra) in Leipzig just like before his
Carnival overture..
1
Arthur Nikisch (Lébényi Szent Miklós, Hungary 1855–1922 Leipzig), 1895–1922
concert hall master and chief conductor of Berlin Philharmonic Orchestra
2
Bruno Walter (Berlin 1876–1962 Beverly Hills), 1913–1922 general music director
at National Theatre Munich and Head of the Academy–concerts
3
„Phantastische Erscheinungen eines Themas von Hector Berlioz“ op. 25
Programmme of the opening night in Munich by Bruno Walter
4
„Phantastische Erscheinungen eines Themas von Hector Berlioz“ op. 25
Programme of the opening night in Amsterdam by Bruno Walter
28
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Symphonic and vocal symphonic works and
their interpreters
„Phantastische Erscheinungen“, written between 1914 and 1917, was the
first of Walter Braunfels works which was performed beyond the German
speaking area. Around one and a half years after the opening night which
was held in Zurich by Volkmar Andreae, as well as the spectacular debut
performance in Munich by Bruno Walter, Leopold Stowoski presented the
work in New York in October 1921 on the occasion of a concert with the
Philadelphia orchestra (Carnegie Hall). Stokowski, who had led the leading
orchestra since 1912 and formed it an internation top-class orchestra, made
history in the modern American music with his wholehearted dedication.
In March 1925, Braunfels “Phantastische Erscheinungen” was again
presented at the Carnegie Hall, conducted by Bruno Walter, however
falsely claimed as the opening night. Walter announced his intention to
perform in Amsterdam and New York by questioning Walter Braunfels: “Do
you have something new - orchestral?” When questioning for novelties,
the barrier proved to be that “Phantistische Erscheinungen” was opposed
of all repertoires. Conductors, as well as the audience of this time of
nearly inexhaustable creative virility, tirelessly welcomed opening nights
and debut performances, however they were reluctant in accepting these
works in the long run. A very good example of the dominating interest in
refreshingly different modern music, especially in the operatic area, was
set by the Leipziger Tagesblatt on December 24th 1923. In total 15 short
interviews were listed, including with Walter Braunfels, headlining: “What
our composers write”.
1
„Phantastische Erscheinungen eines Themas von Hector Berlioz“ op. 25
Programme of the performance debut in New York, Carnegie Hall,18 October 1921
conductor Leopold Stokowski
2
„Phantastische Erscheinungen eines Themas von Hector Berlioz“ op. 25
Programme of the performance, Carnegie Hall, New York, on 12 March 1925 1 2
conductor Bruno Walter
30
Symphonic and vocal symphonic works and
their interpreters
The relationship between Wilhelm Furtwänger and Walter Braunfels
remained distant for their lives, because the composer had married Bertele
von Hildebrand, who at the time was engaged to Wilhelm Furtwängler.
Three years after both had passed away, Bertele Braunfels described her
first encounter in December 1900 with “Willy”, who was the same age as
she was: “I saw the young Furtwängler again when he was fourteen years
of age … He was full-grown (going on fifteen), very slender and tall, with
blond, wildly curly hair, very strong eyebrows and a fascinated fire glance
in his eyes … He had something heroic and left a very good impression
on me…In the following winter, our engagement was announced…
We resembled two gypsies, moving through the country deeply in love.
Not entirely immersed in each other, but in the wonderfulness we were
surrounded by. Our mainland was the music, through which he guided me”.
After five years, we felt the “agony of such a long wearing engagement,
were finally ready for marriage, but much too young… he wrote a lot less
than he used to, visited us for Christmas and a few days later he dissolved
the engagement…suddenly he woke up and that was horrid…He wrote:
Everything I said about leaving was wrong, I want to see you again as
soon as possible, I will not give up on my hope”. Furtwängler’s attempts in
courtship remained unsuccessful. In the meantime, Bertele von Hildebrand
had turned to Walter Braunfels and they got married in 1909. The letters
which Willy and Bertele had written, during their engagement - when
looking back, they called them marriage - were kept and treasured by both.
1
Bertel von Hildebrand (1886–1963), nicknamed Bertele, since 1909 wife of
Walter Braunfels during her engagement period to Wilhelm Furtwängler
2
Wilhelm Furtwängler, nicknamed Willy, was engaged to Bertele von Hildebrand
from 1901–1906
3
The conductor Wilhelm Furtwängler (Berlin 1886–1954 Baden–Baden),
around 1925
32
1 2
3
Symphonic and vocal symphonic works and
their interpreters
Wilhelm Furtwängler was sincerely interested in Walter Braunfels
symphonic works, which was clearly proved for the first time in 1920, when
he expressed the desire to hold the opening night of “Phantastische Erscheinungen” and their successful debut performances in Frankfurt am Main and
Vienna. Hence it was self-evident that Braunfels would appoint Furtwängler
to perform the opening night of his “Don Juan Variationen” in Berlin. At
this time, Furtwängler was chief conductor of Berlin’s Philharmonic and of
the Concert Hall in Leipzig. In accordance to Braunfels request, the opening
night of the “classic romantic phantasmagoria” (subtitle) of “Don JuanVariationen”, was held in Leipzig. On November 17th 1924, only four days
after the opening night, Furtwängler presented this opera within the scope
of his Philharmonic concert in Berlin. On March 17th and 18th 1927, this
opera was also integrated into his performance with the orchestra of the
Philharmonic Society of New York.
The letters the conductor addressed to the composer in 1922 foreshadowed how emotionally hard it was to work together: “By the way I have
heard about your mocking of my `so-called composing` …I would not have
expected this... from someone like you. But in the meantime, I have learnt
to adjust: My composure as conductor towards the composer Braunfels
will not be influenced”. And a few weeks later: “When writing a sensitive
letter to you in summer with reference to my compositions this was rather
referring to your attitude towards me as a person, for which you as you
correctly write `have your reasons`”. The last opening night of Walter
Braunfels works which Wilhelm Furtwängler presented, was the „Konzert
für Orgel, Knabenchor und Orchester“ op. 38, composed in 1927. It was a
dedication to the organ virtuist Günther Ramin, who was from Leipzig.
1
„Don Juan–Variationen“ op. 31, Programme of the New York debut performance
in the Carnegie Hall, 17/18 March 1927, conductor Wilhelm Furtwängler
2
Wilhelm Furtwängler (Berlin 1886–1954 Baden–Baden),
since 1922 director of the Concert Hall Orchestra Leipzig and
the Berlin Philharmonic Orchestra
3
Günther Ramin (Karlsruhe 1898–1956 Leipzig), organist of St. Thomas Church
4
„Konzert für Orgel, Streicher, Blechbläser, Pauken und Knabenchor“ op. 38,
Programme of the opening night in Leipzig Concert Hall on 23 February 1928
conductor Wilhelm Furtwängler, organ Günther Ramin
34
1 2
3 4
Symphonic and vocal symphonic works and
their interpreters
Walter Braunfels merged as one of the most played composers of that time,
he was one the peak of his career, when the Chief Mayor of Cologne Konrad
Adenauer, offered him and Hermann Abendroth the position of Musical
Director of the planned Staatliche Hochschule für Musik (Federal Academy
for Music). Braunfels chose to leave Munich where he had lived for 25 years
and moved to Cologne to take this opportunity.
The grand opening of the second Prussian Academy of Music was held on
5 October 1925. Their founders, Walter Braunfels and Hermann Abendroth
who grew up together in Frankfurt am Main and studied in Munich at the
same time, were bound by a long term friendship.
In 1925 Abendroth was able to continue his career in general, as since
1915 he had worked on his own as conductor of the Gürzenich orchestra at
the Cologne Conservatorium, which was the predecessor of the Academy.
Braunfels on the other hand, had to adjust to this new situation. He had
hardly any time to compose, additionally he described his work as “ a
gearbox which had been functioning in this manner since 75 years”, leaving
him very little room to manoeuvre. Opportunities arose for Braunfels in
the area of recruiting. Braunfels gained the pianist Eduard Erdmann, the
cellist Paul Grümmer and violist Bram Eldering for the Academy, which soon
enough had an international reputation. However, he could not realise his
dream of engaging Bruno Walter for Cologne. In May 1925, Walter wrote to
Braunfels: “In a hurry, but just to let you know my choice is Berlin”. Equally
unsuccessful, for different reasons each, was Braunfels’s plan to gain the
well-known musicologists Alfred Einstein and Ernst Kurth for Cologne.
Despite all his verve Braunfels took negative stock of his time in Cologne as
he states: “for me personally, the time I spent in Cologne gave me very little
and my creative composition began to disappear”.
The directors of the newly founded State Academy for Music in Cologne
Walter Braunfels (1882–1954) and Hermann Abendroth (1883–1956)
Left the composer and conductor Ernst von Dohnanyi (1877–1960)
Suggestions are made that this photo was taken in the course of the 100th anniversary
of the Cologne concert society on 28 June 1927
36
Symphonic and vocal symphonic works and
their interpreters
Braunfels conversion from Protestantism to Catholicism proved a big
turning point in his life, which was preceded by a religious awakening ín
the following of an injury he encountered as a soldier at the front line in
February 1918. His “Te Deum” op. 32 was composed in 1921, showed his
passionate commitment to Catholicism. Quite frequently he emphasized
that the oration was written “not as music for musicians, but as a religious
avowal”. Despite its characteristics as Confessio, “Te Deum” was created
for the concert halls and not as liturgical piece of music. The vast response
this work from Braunfels‘ mind had received at the opening night in Cologne,
proved to be promising advertising material for the Universal-Edition. The
leading publishing company for periodic music in Vienna had already signed
Braunfels in 1919. It is a fact that the impact of “Te Deum” in view of the
commercial attendance was indeed nearly higher than “Die Vögel”. .
Promotion sheet of the Universal–Edition, leading publishing company
for periodic music in Vienna - „Te Deum“ op. 32 by Walter Braunfels
38
Symphonic and vocal symphonic works and
their interpreters
That the opening night of „Te Deum“ op. 32 was to be held in Cologne
by Hermann Abendroth was quickly decided. In April 1921, the Cologne
General Music Director asked his school day friend Braunfels to: “arrange
that the performance can be held on 27/28 February (1922) … I need to
have the choir material by beginning of January. How long will “Te Deum“
play?-please be as precise as possible! Do you have any preferred ideal
soloists in mind? Will, next to the “Te Deum“ still be time and space for
the Berlioz Variationen, you would then conduct? Would you rather like
play the piano or conduct?” The premiere took place on February 22nd 1922
and the composer at the beginning had the role of the soloist in Mozarts
Piano concert d-moll, KV 466. Five years later, Abendroth conducted one of
Braunfels premieres for the last time, with whom he led Colognes Music
Academy since 1925. In May 1933, when the Nazi’s sacked Braunfels, they
separated. Only in May 1950, on the occasion of the 100th anniversary of
the Cologne conservatorium, the two old friends were reunited. Braunfels
had returned to his original position, on the request of chancellor Adenauer,
had also invited Abendroth to this event to Adenauer‘s discontent. In the
meantime Abendroth, who was the music director in Weimar and music
director of the central German broadcast, an exponent of the German
Democratic Republic, effusively thanked Braunfels: “These 10 days... have
proved to be the largest and most uplifting event I have experienced since
making music … You helped me experience this … You had the idea of
inviting me to this anniversary… You have made our former common work
with its sometimes very moved pounding of the waves reappear in a mostly
harmonic set of memories and put us into just and valid perspective. ”.
1
Hermann Abendroth (Frankfurt a. M. 1883–1956 Weimar)
1922 as general music director in Cologne
2
„Große Messe“ op. 37, Programme of the opening night on 22 March 1927
in Cologne Gürzenich, conductor Hermann Abendroth
3
„Te Deum für Sopran und Tenorsolo, großes Orchester, Chor und Orgel“ op. 32
1 2
Manuscript (Blackboard), Universal–Edition, Vienna
4
Hermann Abendroth and Walter Braunfels, May 1950 in Cologne
40
3 4
„Galathea“, 1930
In autumn of 1928, Walter Braunfels was still working on his opera
„Galathea“, as Bruno Walter signalled that he wanted to perform this
opera in Berlin. The world famous conductor, who had been Art Director
of the Städtische Oper (now: Deutsche Oper) in Berlin since 1925, wrote
to Braunfels: “Dear friend Braunfels … I am very interested in your latest
opera. I consider the subject `Acis and Galathea` to be the most fortunate
I can imagine and I am very optimistic of its success. Holding this opening
night would be considered the greatest gift for me”. Unfortunately this
plan failed in 1928/29 when Bruno Walter surprisingly left Berlin at the
end of the season. As a result, the opening night of “Galathea” was held
in January 1930 in Cologne, by Eugen Szenkars. The debut performance in
Berlin in the following year caused mixed reactions. Silvia Baltus as libretto
was harshly critisized, whereas Braunfels music received the highest
acknowledgement: “It shows the signature of a true master, has genuine
style and character, striking pose, shows enthralling wealth of ideas and
design art. It uses modern trends sufficiently to appear fashionable but
is never snobby“as summarized by Hugo Leichtentritt, who was a music
academic, for the magazine Die Musik (the music). Enthusiastic praise
was given to Maria Ivogün as well, who was Walter Braunfels inspiration
behind the “Galathea”. Alfred Einstein, Berlins leading music critic, agreed
with his colleagues when he praised: “You can only but speak of Maria
Ivogün in the role of the Galathea in hymnal tones. Perfect canto, perfect
performance, divine and at the same time childlike being, rounded off with
physical grace.”
1
Sheets of the Städtische Oper, February 1931
2
Maria Ivogün, Galathea in the Berlin debut performance
3
debut performance of the opera „Galathea“ op. 40 on 25 February 1931
Theaternotes of the Städtische Oper Berlin
42
1 2
3
„Galathea“, 1930
The guidelines which Walter Braunfels had set up for the scenic implementation of Galathea, led in Berlin and Munich to basic similarity, whereas Emil
Pretrorius version more closely resembled the intention of the composer.
Own design concepts and requests of the composer were drawn up by the
director in Berlin, Otto Krauss, in a letter to Emil Preetorius:
“Enclosed are a few mediations. The three small fauns at the beginning
(situated left from the audience) as comical silhouettes on boulders suggesting they could make bizarre jumps. The Cyclops from below is good.
Should appear sleeping as a colossus against the horizon or sitting on the
ridge of his rock? (above the cave). Now the ocean. Suggest silver veils?!
Galathea and the nymphs could appear from below … floating. Effectively
a smooth table-like area.
2. picture: Background of the mountan range (lower part) fairly narrow and
in fact curved …, upper part of the pass with view of the horizon, so that
the flock is driven through the Cyclops legs. Braunfels sets high value of the
large barrel … which should be tiltable by 20°, the swigging Cyclops needs
to make an appearing. The wine stream should be of dark red tarlatan,
moved by a fan like our stilistic flames in Samson. So in a hurry today.
Premiere today `Vert. Rollen`“.
The stage was generally convincing. For the Berliner Tagesblatt, Alfred
Einstein summarized his impression: “Surely Emil Preetorius has proved his
most fine skills with the stage set, an unreal classic landscape, neverending
culture, Cretan gowns and robes for the nymphs, Poussins damped colour,
which is not the ancient world but which wakens a craving for the ancient
world, in total harmony with the music.
1
Emil Preetorius, stage set draft, debut performance „Galathea“
Städtische Oper Berlin, 25 February 1931, 1. picture
2
Leo Pasetti, stage set draft, debut performance „Galathea“
Bavarian National Theatre Munich, 15 May 1931, 1. picture
44
1
2
„Prinzessin Brambilla“, 2nd version 1931
„A fantastic work of effusive youth does not become modern but only
now it is completely alive ” was Alfred Einstein’s short comment about
“Prinzessin Brambilla” at the opening night on 16 September 1931, held
in Hanover. General thoughts of the critic regarding position fixing of the
opera composer Braunfels were added: “With “Prinzessin Brambilla”,
Braunfels has challenged the chords for the first time, which he, softer or
more resonant, has touched again and again: turning these into timeless
but unfashionable operas, opera as a cause for music, opera as a game of
fantasy. His position is not entirely unhazardous. Approaching his fifties, he
seemed to be resting between two stools, the old and younger generation,
the youngest and most modern of which classify his work as “oldie”. Anyway
he stands far away from the group that nonetheless defines today’s modern
and fashionable music like Hindemith, Krenek, Weill. Braunfels‘ opera is
never a documentation of time. It is an island, an opera orplid and referring
to Orplid you never know if it is close or far away. As you never know what
is right: the contemporary or the timeless issue: It depends on their degree
of liveliness, even the timeless can be lively. And is then carried away by
a palmtree”. Einstein witnessed the performance with a great éclat: “The
performance in Hanover can only be praised most profusely, yes I am in
awe. You can feel the spirit of activity hovering above the stage. Not poor
or unreachable, not exaggerated or eccentric. One singer attracts attention:
Tiana Lemnitz, with exquisite warm, youthful at all times stable voice ….
Rudolf Krasselt brings out the best of rhythmical fire, has found the perfect
tone”. Einstein’s overall summary: “Prinzessin Bambilla would truly be
appealing to the greatest director, Max Reinhardt, who would perform this
work even without a pause, as phantasmagoria, as the most coincidental,
cheerful, rhythmic opera that may have ever appeared on stage.”
1
Opening night rehearsal of „Prinzessin Brambilla“ op. 12b
Piano: Rudolf Krasselt, 1924–1943 general music director and
arts manager of Städtische Oper Hanover
2
Scene photo „Prinzessin Brambilla“ op. 12b, opening night Hanover,
16 September 1931, Musical Lead Rudolf Krasselt, Director
Hans Winckelmann, Sequence Design Kurt Söhnlein
46
1
2
Ostracism and eviction
In 1933 the Nazi’s took over Germany, which proved to be a turning point
in the life of Walter Braunfels. In March 1933, all Jewish teachers and
students were banned from the Academy. According to the Nazi classification, Braunfels was considered a “half-Jew” and as a result, suspended
from his position as director on 24 March 1933. On 7 April 1933, the process
of repression and reformation led to the “Gesetz der Wiederherstellung
des Berufsbeamtentums” (Law for the restoration of civil servants). This
law “legally” empowered the political party and the state to dismiss civil
servants, which were of “non-Aryan descent” or gave cause for serious
concern of their “wholehearted dedication to the country”. In the course
of the consistent application of this law, Braunfels was “suspended”
from the university, additionally the Prussian academy of arts declared his
retirement. All of Braunfels works underlied a performance ban, in addition
public appearances as a pianist, as well as teaching, were strictly forbidden
by the Nazi’s as since September 1933, Braunfels was classified as a “halfJew” and as a result he was not allowed to join the “Reichsmusikkammer”
(federal music board). The name Braunfels was even erased in all literature
and reference works. The isolation from the industry was even effective
outside of Germany, because the musicologists and critics that were familiar
with his works were expelled. Just like Alfred Einstein, who had rendered
homage to “Prinzessin Brambilla” in 1931, Paul Amadeus Pisk (1893-1990),
Egon Wellesz (1885-1974) and Hugo Leichtentritt (1874-1951) emigrated.
The exodus of the grand interpreters at first from Germany and then from
Austria in 1938, led to a permanent disappearing of Braunfels works. Many
of these interpreters had successfully conducted “Die Vögel”, the “Don Gil”
or the “Galathea” opera.
1
2
3
4
5
6
7
8
9
10
Alfred Einstein (1880–1952)
Egon Pollak (1879–1933), „Die Vögel“/ Hamburg
Eugen Szenkar (1891–1977), „Die Vögel“; „Don Gil“; „Galathea / all Cologne
Bruno Walter (1876–1962), „Die Vögel“/ Munich
Fritz Stiedry (1883–1968), „Die Vögel“/ Berlin/ Vienna; „Galathea“/ Berlin
Fritz Busch (1890–1951), „Die Vögel“/ Stuttgart
Otto Klemperer (1885–1973), „Die Vögel“/ Cologne
Gustav Brecher (1879–1940), „Don Gil“/ Leipzig
Letter board of trustees, 2 May 1933: Suspension
Letter president of the music board, 5. Dec. 1938: occupational ban
48
1 2
3 4
5 6
7 8
9
10
„Der Traum ein Leben“, op. 51
Being evicted from his Cologne sphere proved to be a true relief for Braunfels,
as can be read between the lines of his catalogue raisonné. Especially the
works for stage created in only a short period of time hsow, that the years
living in forced isolation between 1933 and 1945 proved to be his time of
great creative productivity. Braunfels hoped to perform his new works and
fully concentrated on Bruno Walter, who from 1936 was the director of the
state opera house in Vienna. During a visit at their mutual friend‘s, Werner
Reinhart in Winterthur, Braunfels was able to perform from a selection of
his new compositions. On 20 August 1936, Bruno Walter announced his
decision that “Ein Traum ein Leben op.51” was his preferred choice: “Of
course I am nonetheless very interested in your orchestra suite, but “Der
Traum” remains essential. Indeed I am contemplating a performance at the
Vienna opera house. In your opinion, would the material be prepared, the
piano excerpts written, orchestral voices tuned etc. by February or March?”
The preparations to host the opening night of “Der Traum” where fast
paced. Walter suggested a meeting on 5 March 1937 in Amsterdam: “Of
course we would prefer if you could bring your script along … It would be
early enough to sign the contract and as a result, ensure the completion
of the material for the upcoming season.” After accepting Walter’s final
amendments, only the date of the opening night had to be finalised. “End
of April would be very favourable for Vienna. Ebert replaceable and I would
have enough time to conduct the necessary recurrences. However, the lead
tenor is absolutely essential and we haven’t signed one yet. Should this
situation remain unsettled, I consider a delay to October 1938 as unavoidable.” Germanys troop evasion on 12 March 1938, as well as the Austria’s
annexation to the German empire signed the following day, destroyed all
hopes and plans that were upheld.
1
„Der Traum ein Leben“ op. 51, opera according to Franz Grillparzer
1934–1937, script draft, archive Bruse–Braunfels
2
Walter Braunfels in Anif near Salzburg, near June 1941
3
Bruno Walter at an orchestral rehearsal in Vienna, 1936
50
1 2
3
Inner emigration – „Verkündigung“
„Szenen aus dem Leben der heiligen Johanna“
Since late autumn 1937, Walter Braunfels who had spent the first years of
inner emigration in Bad Godesberg, lived in the small village of Süßenmühle
near Überlingen at Lake Constance. In a letter to a close friend, he wrote:
“we are very happy here, however completely abandoned from the world.”
In 1938 his total isolation reached a complete new dimension. Since Austria
attached itself to Germany and a final occupational ban for musicians by
the Musical Chamber of Germany Braunfels lost all hope of ever being able
to perform one of his compositions. Bruno Walter who had left Austria
on 26th December wrote a letter from Lugano to Braunfels: “Thank you
for your kind words. Indeed a lot has happened since we last met and the
year 1938 appears to be allowed to end unmourned. ...your inflexibility due
to material reasons is completely comprehendible for me, unfortunately
others are currently inaccessible for me. I am glad that you have found
an occupation, more than ever I have recognised that work should be
treasured as being a blessing.” Concentrating on religious subjects proved
to be Walter Braunfels answer to his unpromising situation. The opera
“Verkündigung” op.50 after Paul Claudel’s mystery play„L’Annonce fait à
Marie“, was already composed in 1933-1935. While the world more and
more went to pieces from 1937 to 1943, the opera “Szenen aus dem Leben
der heiligen Johanna” op.57 was created in complete isolation. In summer
1940, when all of his three sons had joined the force and gone to war, the
composer summed up his situation: “We are situated on a remote island,
with a hurricane raving around us”..
1
Walter Braunfels and his wife Bertele at the waterside of Lake Constance
Summer 1944
2
„Verkündigung“ op. 57, opera after Paul Claudel,
1933–1935, script (draft), archive Bruse–Braunfels
52
1
2
„Rather banished, than misjudged“
One year after the end of the Second World War, the opening night of the
concert scene for soprano and orchestra „Tod der Kleopatra“ op.49 written
in 1944, was held in the entirely destroyed city of Cologne under the lead of
Günter Wand, who was the new director of the Gürzenich orchestra. Three
years later, the opening night of “Sinfonia brevis” op. 69 followed. The
young Cologne general music director in the first post war years advocated
the composers which were ostracized by the Nazi’s, putting in a lot of
effort to regain normality. Additionally he was one of the few conductors
performing Walter Braunfels works. Braunfels had also sent the script of
“Sinfonia brevis” to his old companion Hermann Abendroth, who however
indefinitely put him off with: “To play your work is very appealing. However
for the time being I am not in the position to make fix promises for the
upcoming season … As you surely are aware, it is my duty to perform a lot
of Russian music and my freedom of movement is somewhat restricted in
this regard.”
Likewise in spring of 1948, Cologne presented the premiere of “Verkündigung” starring Trude Eipperle in the leading role of Violaine, directed by
Hellmut Schnackenburg. This high classed opera was used to honour the
work of the composer, who was reluctant to return to his old domain already
in autumn 1945 at the request of Konrad Adenauer and who had tirelessly
dedicated himself to rebuilding the Music School of Cologne. However, the
desired response of the audience was absent, which Braunfels was said to
have laconically commented on: “rather banished that misjudged.”
1
„Tod der Kleopatra“ op. 49, Concert scene for soprano and orchestra
Programme of the opening night in Cologne on 1/ 2 July 1946
conductor Günter Wand, soloist Walburga Wegner
2
Günter Wand (Elberfeld 1912–2002 Ulmitz/ Bern)
1946–1974 general music director and head of the Gürzenich concerts in Cologne
3
Walter Braunfels, 1948
4
„Verkündigung“ op. 50, opera after Paul Claudel
Ad of the Städtischen Bühnen Cologne for the opening night 4 April 1948
conductor Hellmut Schnackenburg
54
1 2
3 4
Last performances
On the occasion of the 70th birthday of Walter Braunfalls, his two most
famous works written for concert hall were performed in his honour. In
Cologne resounded the “Phantastische Erscheinungen eines Themas von
Hector Berlioz” op.25, as well as the “Te Deum” op. 32. Günter Wand
took the lead of the Kölner Rundfunksinfonieorchester (Cologne broadcast
orchestra), the solo lead voices were performed by Leonie Rysanek and
Helmut Melchert. In Munich, Eugen Jochum honoured the composer
by presenting “Weihnachtkantate” op.52, which Braunfels had created
between 1934 and 1937. Annelies Kupper and Hans Braun were the
soloists in Munich. When Braunfels died in 1954, however his works never
experienced a true renaissance. In a memorial service to honour his fathers
80th birthday, Wolfgang Braunfels suitable states: “The aging was not
lacking outer honour and acceptance”. However, his works were no longer
understood. A younger generation and a new internationally oriented music
having been forbidden at the same time as he was, had succeeded in
coming to the fore and drawing attention only to themselves. The nation
also mentally strived to unite in larger communities. In a time when the
cultural heritage of the world was united and when Germany had given up
reviving its lost spiritual physiognomy, a musician whose art was rooted in
the grand 19th century, did not stand a chance”.
1
Festive concert on the occasion of Walter Braunfels‘ 70th birthday on 19. 12. 1952
from left: Günter Wand, Walter Braunfels, Leonie Rysanek, Helmut Melchert
2
Eugen Jochum (Babenhausen 1902–1987 Munich)
1949–1960 chief conductor of the symphonic orchestra of Bavarian broadcast
3
„Weihnachtskantante“ op. 52
programme of Munich‘s debut performance with the symphony orchestra of
the Bavarian broadcast on 11/12 December 1952, conductor Eugen Jochum
56
1
2 3
International rediscovery
For decades the delayed reception of the Wiener Schule (school of Vienna)
and the dogmatism which dominated, prevented discovering the new
existing vanguard of the interesting and diversified music in Germany
before 1933. „Die Vögel“were performed in 1971 in Karlsruhe and in 1991
in Bremen, which were the initial attempts to return Walter Braunfels works
to the repertoire of the opera. However in order to fully recover, a broader
effect would have been necessary. The rediscovery of Walter Braunfels was
triggered by Lothar Zagrosek and the RSO, who played the opera “Die Vögel”
within the scope of the series “Entartetete Musik” (Recovered voices) for the
label DECCA. The concert was held on 3 December 1994 at the large studio
of the SFB. The CD, which in 1997 won the Prix Caecilia and also gained
international acknowledgment and distribution, conjured up “Die Vögel”
promptly in all places, where Braunfels‘ successful opera had already been
performed in the 1920ies. For the first time ever, this musical epos of the
20th century was pushed outside the German speaking area and motivated
conductors and directors to perform the opera. This was clearly reached, as
the opera was performed in Cologne, Vienna, Geneva, Freiberg/Sachsen,
Cagliari and at the Spoleto Festival in Charleston, USA. The ultimate goal
of the Decca Series according to Lother Zagrosek was “to encourage a
certain group of composers, to rehabilitate their work and to give them the
attention they deserve, from an artistic point of view”. Recently, James
Conlon initiated a large America wide campaign “recovered voices” and
“Die Vögel” will be performed in Los Angeles. The once awakened public
interest in the composer Braunfels did not end with “Die Vögel”: In 2001,
Guido Johannes Rumstadt presented the opening night of “Der Traum ein
Leben” in Regensburg, more than 60 years after the opening night had been
anticipated by Bruno Walter.
1
Lothar Zagrosek, conductor of the operatic concert „Vögel“, on 3. Dec 1994
with the symphony orchestra Berlin, in collaboration with the DECCA
in the large studio of the Sender Freies Berlin
2
Marlis Petersen as Nightingale. Scene photo „Die Vögel“
Grand Théâtre de Genève, opening night on 24 January 2004
conductor Ulf Schirmer, director and stage production Yannis Kokkos
3
2
Scene photo „Die Vögel“, Volksoper Vienna, premiere 8 October 1999
3
conductor Guido J. Rumstadt, director Claes Fellboom; stage Werner Hutterli
58
1
„Szenen aus dem Leben der heiligen Johanna“
2001
In 1994, Lothar Zagrosek induced the Braunfels-Renaissance, which was
continued by Manfred Honeck in Stockholm on 31 August 2001, when
the opening night of the concertante performance of the opera „Szenen
aus dem Leben der heiligen Johanna“ was held. “Being able to finally
experience scenes of Walter Braunfels‘ opera, „Szenen aus dem Leben
der heiligen Johanna“, was as if a missing puzzle piece was finally put
in place. A piece you didn’t know it was missing”, the Stockholm Aftonbladet noted. Besides the marvellous Eric Ericson Chamber Choir, especially
casting the lead role with the „perfectly confident Juliane Banse … the
ultra-Catholic opera left a deep impression in the Protestant Stockholm” as
quoted by the FAZ critic Albrecht Dümling. The performance in Stockholm
was subsequently followed by the German debut performance which was
held in Munich in 2001. The symphony orchestra of the Bayrischer Rundfunk
(Bavarian broadcast) was led by Manfred Honeck. Vocals were performed
by the Bayrischer Rundfunkchor (Bavarian broadcast choir). Besides the
many excellent soloists Juliane Banse, like in Stockholm, convinced the
audience with her “youthful soprano” in the lead of role of Jeanne d’Arc..
1
Juliane Banse took the lead role in the concert opening night of the opera
„Szenen aus dem Leben der heiligen Johanna“
on 31 August 2001 in Stockholm as Johanna
2
„Szenen aus dem Leben der heiligen Johanna“ op. 57, 1939–1943
Script, I. part, 1. scene, Bavarian national library Munich
3
„Szenen aus dem Leben der heiligen Johanna“ op. 57, 1939–1943
Script (draft), Archive Bruse–Braunfels
4
Manfred Honeck, chief conductor of the Swedish broadcast symphonic–
orchestra lead the opening night of the opera „Szenen aus dem
Leben der heiligen Johanna“ on 31 August 2001 in Stockholm
60
1 2
3 4
„Jeanne d‘Arc –
Szenen aus dem Leben der heiligen Johanna“
2008
In the meantime, Ulf Schirmer who had conducted the scenic debut performance of Braunfels great opera “Jeanne d’Arc”, has become one of the
profoundest fanciers and interpreters of Walter Braunfels works. The performance of “Die Vögel” in Geneva was a jump start for him, an inspiration
to put important compositions on CD. After arranging the “symphonic“
string quartet in a version for larger orchestras in close collaboration with
Munich’s broadcasting orchestra, Schirmer started preparing the recording
of CDs of the opera “Don Gil von den grünen Hosen” and “Verkündigung”.
Christoph Schlingensief is the initiator behind the idea and concept of
holding a scenic debut performance. Schlingensief, originally a filmmaker,
performance artist and fine artist, theatre and opera director, held his
spectacular opera debut of “Parsifal” in Bayreuth in 2004. In 2007, he implemented “The Flying Dutchman” at the Teatro Amazonas in Manaus, Brazil.
He first encountered Braunfels when travelling through Nepal, where he
experienced humans being burnt immediately after their death as a matter
of course in public according to explicitly defined rituals. This impression led
to the idea of performing Braunfels‘ opera in a similar ambiance, showing
the ritualised, paradigmatic ordeal from the hospice to the public burning
after death, since Jeanne d‘Arc already featured strong liturgical elements.
His goal was to bring Jeanne d’Arc closer to our everyday life and death - as
special as her fate might be. All the while, profane daily routines and sacral
plots complementing each other.
1
Ulf Schirmer, conductor of the scenic opening night of „Jeanne d‘Arc –
Szenen aus dem Leben der heiligen Johanna“ op. 57 on 27 April 2008 in the
Deutsche Oper Berlin
2
Christoph Schlingensief, idea and concept of the performance
3
Thomas Goerge, stage design, scenic opening night „Jeanne d’Arc –
Szenen aus dem Leben der heiligen Johanna“, Deutsche Oper Berlin, 27 April 2008
orchestration based on notes made by Christoph Schlingensief
1 2
by Anna–Sophie Mahler, Søren Schuhmacher und Carl Hegemann
3
62
Walter Braunfels
19.12.1882
Walter Braunfels was born in Frankfurt a. M.
son of the lawyer and writer Ludwig Braunfels
and his second wife Helene, virgos Spohr
1885
Death of the father
seit 1895
Student at the Hoch‘sches Konservatorium in Frankfurt a. M.
1901–1902
Academic studies of national economics and law at the universities
in Kiel and Munich
1902–1903
Music studies in Vienna: Piano lessons by Theodor Leschetitzky,
Theory by Karl Nawratil (also taught Arnold Schönbergs)
from 1903
Lessons in composing by Ludwig Thuille in Munich
1905
Initial visits to the sculptor Adolf von Hildebrand
25.3.1909
Premiere of the opera “Prinzessin Brambilla” op. 12
acc. E.T.A. Hoffmann in Stuttgart under Max von Schillings
5.5.1909
Marriage to Bertel von Hildebrand
1910
Premiere of “Offenbarung Johannis” op. 17 for tenor,
double choir and large orchestra in Zurich by Volkmar Andreae
1913
Starts composing the opera “Die Vögel” acc. Aristophanes
4.11.1913
Premiere of the opera „Ulenspiegel“ op. 23 in Stuttgart by
Max von Schillings
1.8.1914 – 11.11.1918 First World War
1915
Co-creation of the New School for Applied Rhythm in
Hellerau near Dresden
Walter Braunfels is drawn into the army
1918
Front line service, injury, converted to Catholic creed
64
9./ 11.11.1918 Germany becomes a republic / Ceasefire
19.1.1920
Premiere of “Phantastische Erscheinungen eines Themas
von Hector Berlioz” op. 25 in Zurich by Volkmar Andreae
23.2.1920
whose German premiere was held in Munich by Bruno Walter
30.11.1920
Premiere of the opera “Die Vögel” op. 30
by Bruno Walter in Munich
28.2.1922
Premiere of “Te Deum” op. 32 by
Hermann Abendroth in Gürzenich near Cologne
27.1.1923
Membership of Prussian Academy of Arts, Berlin
13.11.1924
Premiere of “Don–Juan–Variationen” op. 34 for large
orchestra in Leipzig by Wilhelm Furtwängler
15.11.1924
Premiere of the opera “Don Gil von den grünen Hosen” op. 35
in Munich by Hans Knappertsbusch
1925
Walter Braunfels is called to Cologne to take position as Director
of the 2nd Prussian Conservatoire
22.3.1927
debut performance of „Große Messe“ op. 37 in Cologne/Gürzenich
by Hermann Abendroth
23.2.1928
Premiere of „Konzert für Orgel, Knabenchor und
Orchester“ op. 38 with Günther Ramin by Wilhelm Furtwängler
26.1.1930
Premiere of the opera “Galathea” op. 40
in Cologne by Eugen Szenkar
25.2.1931
Berlin debut performance of the opera „Galathea“
by Fritz Stiedry starring Maria Ivogün as Galathea
16.9.1931
Premiere of revised version of the opera
„Prinzessin Brambilla“ op. 12b
in Hanover by Rudolf Krasselt
65
30.1.1933 Adolf Hitler appointed chancellor
24.3.1933
Dismissal from all public positions, retreating from the music
in public. Move to Bad Godesberg
1933–1935
Composing the opera “Verkündigung” op. 50 acc. to Paul Claudel
1934–1937
Composing the opera “Der Traum ein Leben” op. 51
acc. to Franz Grillparzer
5.3.1937
Meeting with Bruno Walter in Amsterdam, who agrees to conduct
the premiere of the opera “Der Traum ein Leben“ at Vienna
opera houses, impeded by the „anexion“ of Austria
11.1937
Move to Überlingen, Lake Constance
12.3.1938 German troops invade Austria
5.12.1938
Final banishment of all public musical activities by the German
music chamber
1938–1943
Composing the opera “Szenen aus dem Leben der heiligen
Johanna” op. 57
1.9.1939 – 8.5.1945 Second World War
1943–1944
Composing the string quartets op. 60 and 61
1945
Composing the string quintet fis–moll op. 63
12.10.1945
Return as director of the State Music Academy in Cologne
29.9.1946
Premiere of „Konzertstück für Klavier und Orchester“ op. 64
in Hamburg by Eugen Jochum, Soloist: Walter Braunfels
1948
Walter Braunfels announced President of Music Academy Cologne
66
4.4.1948
Premiere of the opera “Verkündigung” op. 50 in Cologne
by Hellmut Schnackenburg starring Trude Eipperle as Violaine
4.4.1949
Premiere of “Sinfonia brevis” op. 69 in Cologne
by Günter Wand
23.5.1949
7.10.1949
Foundation of the Federal Republic of Germany
Foundation of the German Democratic Republic
1950
Premiere broadcast of the opera “Der Traum ein Leben” op.51 on
the Hessian radio, Frankfurt a. M. by Kurt Schroeder starring
Annelies Kupper as Mirza/Gülnare
19.1.1952
Walter Braunfels holds his farewell concert in Cologne as pianist
with D–Dur Toccata by Bach. Sonate op. 111 by Beethoven and
the Liszt adaption of Orgel–Fantasie“ and Fuge g–moll by Bach
19.12.1952
Festive concert celebration for Walter Braunfels 70th Birthday by
Günter Wand in Cologne “Phantastische Erscheinungen eines
Themas von Hector Berlioz” and “Te Deum” starring Leonie Rysanek
22.2.1954
Premiere broadcast of the ballad of:
“Der Zauberlehrling” op. 71 acc. to Goethe for NWDR Hamburg
by Hans Schmidt–Isserstedt
19.3.1954
Walter Braunfels passes away in Cologne
24.5.2001
Scenic Premiere of the opera „Der Traum ein Leben“ op. 51
in Regensburg by Guido Johannes Rumstadt
31.8.2001
Concertante premiere of the opera “Jeanne d‘Arc – Szenen aus
dem Leben der heiligen Johanna” op. 57
in Stockholm by Manfred Honeck starring Juliane Banse
27.4.2008
Scenic premiere of the opera “Jeanne d‘Arc –
Szenen aus dem Leben der heiligen Johanna“
held at Deutsche Oper Berlin by Ulf Schirmer starring Mary Mills
67
Literature
Essentials to life and work of Walter Braunfels’ is the mongraph published in 1980 by Ute Jung, Walter
Braunfels (1882–1954), Regensburg, 1980
Unprinted and printed sources:
Estate Walter Braunfels, Bavarian national library Munich (Nl.W.B.)
Estate Wilhelm Furtwängler, National library in Berlin, music department
Braunfels, Bertele, Ein Brief an eine alte Freundin (1957), in: 2. Wilhelm Furtwängler–Tage, 26–29
November 1998 in Jena and Weimar, Jena 1998, p. 23–52
Alfred Einstein, The critics, editor: Schmidt–Scheubel, Rolf, vol. I–VII, Berlin 2004 (Ms.)
Musikblätter des Anbruch, Vienna 1919–1937
Walter, Bruno, letters, 1894–1962, Frankfurt a. M. 1969
Walter, Bruno, Thema und Variationen. Erinnerungen und Gedanken, Stockholm 1947
Literature:
Festschrift 75 Jahre Hochschule für Musik Köln, Cologne 2000
Hammer, Sabine, Oper in Hannover, 300 Jahre Wandel im Musiktheater einer Stadt, Hanover 1990
Pollems, Katrin, Zeitlos unzeitgemäß, Der Komponist Walter Braunfels 1882–1954, Cologne 1992
Scharberth Irmgard, Gürzenich–Orchester Köln, Cologne 1988
Valder–Knechtges, Claudia, Provinztheater im Umbruch (1916–1928), in:
Oper in Köln, Hrsg. Christoph Schwandt, Berlin 2007
Quotation reference
p. 8: Max Schillings to Walter Braunfels, 8. 5. 1908, Nl. W.B., Ana 579, letters, 6–9
Max Schillings to Walter Braunfels, 25.4.09, Nl. W.B., Ana 579, letters, 6–9
p. 10: Alfred Einstein, Frankfurter Zeitung (Abendblatt), 4.12.1920
p. 12: Alfred Einstein, Münchner Musikwinter 1921–1922, in:
Der Auftakt, Musikblätter für die tschechoslowakische Republik, 2. vol., 1922, H. 8/9, p. 220
Egon Wellesz, Die Vögel, Ein lyrisch phantastisches Spiel von Walter Braunfels, in:
Musikblätter des Anbruch, 2. vol. 1920, p. 655
Alfred Einstein, Münchener Post/ Kunstschau (special edition of M.P.) no.46, 3.12.1920
Bruno Walter, Thema, p. 329
Alfred Einstein, Münchener Post/ Kunstschau (special edition of M.P.) no.46, 3.12.1920
p. 14: Alfred Einstein, Frankfurter Zeitung (Abendblatt), 4.12.1920
p. 18: Paul A. Pisk, Review (without reference), Nl. W.B., Programme und Kritiken, Ana 579.
Paul Stefan, Börsen–Kurier, 12.5.25
Review Albert Noelte, München–Augsburger Abendzeitung, no. 315, 17.11.1924
p. 20: Bruno Walter to Walter Braunfels, Munich, 2.7.1924, Nl. W.B., Ana 579, letters, 6–9
68
p. 22: Walter Braunfels to Hans Reinhart, 7.6.1922, quoted acc.to Jung, p. 261
p. 24: Bruno Walter, Thema, p. 278
Bruno Walter to Walter Braunfels, Munich, 27.12.1916, Nl. W.B., Ana 579, letters 6–9
Alfred Einstein, Münchner Konzerte, Frankfurter Zeitung, 17.3.1917
p. 26: Alfred Einstein, Der Auftakt. Musikblätter für die tschechoslowakische Republik,
3. vol., 1923, H. 5., p. 127–130
Hans Pfitzner to Walter Braunfels, 5. u. 19. 10. 1910, Nl. W.B., Ana 579, letters 6–9
p. 28: Alfred Einstein, Münchner Musikbrief, Frankfurter Zeitung (517), 1. Morgenblatt, 16.7.1920
Alfred Einstein, Münchner Konzerte, Münchener Post, 4.3.1920
Wilhelm Furtwängler an Walter Braunfels (undated, letterhead national theatre Mannheim),
Nl. W.B., Ana 579, letters 6–9
p. 30: Bruno Walter to Walter Braunfels, Munich, 2.7. 1924, Nl. W.B., Ana 579, letters 6–9
p. 32: Braunfels, Bertele, S. 23–52
p. 34: Wilhelm Furtwängler to Walter Braunfels, undated letter „Zu Schiff auf dem
Bodensee“, Nl. W.B., Ana 579, letters 6–9
Wilhelm Furtwängler to Walter Braunfels, St. Moritz, 19.7.1922, Nl. W.B., Ana 579, letters 6–9
p. 36: Zahn, Robert von, Erziehung durch die Musik, nicht nur zur Musik.
Walter Braunfels und die Kölner Musikhochschule, in: Pollems, p. 32
Bruno Walter to Walter Braunfels, London, 30.5.1925, Nl. W.B., Ana 579, letters 6–9
Walter Braunfels, Lebensabschnitte, in: Zeitschrift für Musik, 97. vol. H. 6, Juni 1930. p. 437–439
p. 38: Walter Braunfels to Wilhelm Furtwängler, Holzen, 11.9.22, Nl. W.B., Ana 579, letters 3–4
p. 40: Hermann Abendroth to Walter Braunfels, 25.4.1921, Nl. W.B., Ana 579, letters 6–9
Hermann Abendroth to Walter Braunfels, 19.7.50, Nl. W.B., Ana 579, letters 6–9
p. 42: Bruno Walter to Walter Braunfels 31.10.1928, Nl. W.B., Ana 579, letters 6–9
Hugo Leichtentritt in: Die Musik 23. vol., 7.4.1931, p. 520
Alfred Einstein, „Largo und Vivace in der Städtischen Oper“,
Berliner Tageblatt (Abendausgabe) 26.2.1931
p. 44: Brief vom 24.10.1930, Nl. W.B., Ana 579, letters 5
Alfred Einstein, „Largo und Vivace in der Städtischen Oper“,
Berliner Tageblatt (evening edition), 26.2.1931
p. 46: Alfred Einstein, Berliner Tageblatt (438), 17.9.1931
Alfred Einstein, Berliner Tageblatt (evening edition) 18.9.1931
p. 50: Bruno Walter to Walter Braunfels, Salzburg, 20.8.1936, Nl. W.B., Ana 579, letters 6–9
Bruno Walter to Walter Braunfels, Vienna, 12.1.1937 Nl. W.B., Ana 579, letters 6–9
Bruno Walter to Walter Braunfels, Amsterdam, 19.2.1937, Nl. W.B., Ana 579, letters 6–9
Bruno Walter to Walter Braunfels, Salzburg, 26.8.1937, Nl. W.B., Ana 579,letters 6–9
p. 52: letter, Überlingen, 1.4.1938, quoted acc.to Jung, p. 291
Bruno Walter to Walter Braunfels, Lugano–Sorengo, 26.12.1938, Nl. W.B., Ana 579, letters 6–9
letter, Überlingen, 13.6.1940, quoted acc.to Jung, p. 295
69
p. 54: Hermann Abendrothto Walter Braunfels, 1.10.1950, Nl. W.B., Ana 579, letters, 6–9
quoted acc.to Jung, p. 299, comm. 7
p. 56: Quoted acc.to Jung, p. 300
p. 58: Interview with Lothar Zagrosek, in: KlassikAkzente, 31.10.2000
Captions
Title,
Walter Braunfels, 1948
Back cover „Szenen aus dem Leben der heiligen Johanna“, draft, Archive Bruse–Braunfels
P. 4,
Walter Braunfels at grand piano, 1952
P. 23, 1 Rear row (in costume) from left: Paul Wiesendanger als Don Rodriguez, Hans Schenke als
Don Curzio, Max Adrian als Don Manuel (alias Don Gil), Hertha Stolzenberg als Donna Ines,
Greta Günther–Spoel als Donna Juana (verkleidet als Don Gil), Wilhelm Patsche als Don Pedro
(Vater von Donna Ines). Middle row (in plainclothes) from left: Prof. Rudolf Krasselt Dirigent,
Walter Braunfels Composer, Dr. Hans Winckelmann Director. Front row sitting: Willy Wissiak
as Caramanchell, Gertrud Schmidt–Gerlach as Donna Clara, Ines’Base, diguised as Don Gil.
P. 46, 1 from left to right: Rudolf Krasselt Conductor; Josef Correck (Pantalone), Bariton, 1927–1948 in
Hanover engaged; Carl Hauss (Der Schauspieler Claudio), Tenor, 1925–1953 engaged in Hanover;
Curt Huxdorf (Gascon, an nobleman his friend) Tenor, 1924–1956 engaged in Hanover; Tiana Lemnitz
(Giazinta, a young seamstress), Soprano, 1929–1934 engaged in Hanover.
Picture credits
Berlin, picture archive–PK, p. 17, 1; p. 33, 3; p. 35, 2; p. 49, 7
Berlin, Deutsche Oper Berlin/ Thomas Goerge, p. 63, 3
Berlin, Konzerthaus, Thomas–Mayer–Archiv, p. 57, 1
Berlin, Ullstein Bild, p. 19, 3; p. 27, 1; p. 29, 1; p. 49, 4, 8; p. 55, 2; p. 63, 2
Den Haag, Nederlands Muziek Instituut, p. 29, 4
Diessen, Juliane Banse, p. 61, 1
Düren, city archive, p. 9, 2
Frankfurt a. M., university library Johann Christian Senckenberg, p. 49, 2
Geneva, Grand Théâtre de Genève/ Nicolas Lieber, p. 59, 2
Hanover, theatre museum of Niedersächsisches Staatstheater, p. 21, 1; p. 23, 1; p. 47, 1,2
Karlsruhe, Max Reger Institute with Brothers Busch Archive, p. 27, 4; p. 49, 6
Cologne, University, dramatics collection, p. 17, 2, 3; S. 23, 3; p. 45, 1, 2; p. 49, 3
Leipzig, Gewandhaus, p. 35, 3, 4
Munich, archive Bruse–Braunfels, title; p. 4; S 7, 1, 2, 3, 4; p. 9, 1; p. 15, 1, 2; p. 19, 1; p. 25, 1; p. 27, 2, 3;
p. 29, 3; p. 33, 1, 2; p. 37; p. 39; p. 41, 2, 4; p. 49, 9, 10; p. 51, 1, 2; p. 53, 1, 2; p. 55, 3, 4; p. 57, 1; p. 61, 3
Munich, Bavarian National Library, p. 9, 4; p. 23, 2; p. 25, 2, 3; p. 43, 1, 3; p. 55, 1; p. 57, 2, 3; p. 61, 2
Munich, Bavarian broadcast/ Christian Kaufmann, p. 63, 1
Munich, Deutsches Theatermuseum, p. 9, 3; p. 11; p. 13, 1, 2, 3, 4; p. 15, 3; p. 19, 2, 4;
p. 21, 2; p. 25, 4; p. 29, 2; p. 43, 2
Munich, KünstlerSekretariat am Gasteig/ Toshiyuki Urano, p. 61, 4
New York, Carnegie Hall Archives, p. 31, 1, 2; p. 35, 1
New York, Metropolitan Opera Archives, p. 49, 5
Northhampton, MA, Smith College Archives, p. 49, 1
Weimar, Hochschule für Musik Franz Liszt, Thüringisches Landesmusikarchiv, p. 41, 1
Vienna, Austrian National Library, p. 51, 3
Vienna, Universal–Edition; p. 41, 3
Vienna, Volksoper/ Marianne Weiss, p. 59, 3
70
Many thanks for professional advice and support whilst doing research to:
Mrs Susanne Bruse–Braunfels, Munich
Ms Babette Angelaeas, Deutsches Theatermuseum, Munich
Ms Angelika Glatz, Archives of Universal–Edition, Vienna
Ms Christine Göthner, dramatics collection
of Cologne University
Ms Margreet Nouwen, Berlin
Ms Inge Mathes, Theatre Museum Hanover
Mr PD Dr. Robert Schmitt–Scheubel, Berlin
Ms Dr. Bettina von Seyfried, Deutsches Musikarchiv Berlin
Ms Dr. Claudia Valder–Knechtges, Cologne
71
Herausgeber:
Walter–Braunfels–Gesellschaft
Kochstraße 60
10969 Berlin
Tel: + 49 (30) 25 37 60 – 0
Fax: + 49 (30) 25 37 60 – 50
post@braunfels–architekten.de
Konzeption und Text:
Dr. Agnete von Specht
Layout und Satz:
Stephan Braunfels Architekten BDA
Druck:
Motiv Offset N. & S. Karatas GbR
Prinzessinnenstr. 26, 10969 Berlin
ISBN:
978–3–00–024742–2
Berlin, April 2008
72