Framed photograph as found originally.
Herlango photo company stamp on right bottom corner of photograph.
Dr. Richard Strauss
Ticket stub and concert program from Orchestra Concert, 27
January 1929
Pictured above, Scneller Timpani
Unknown percussionist - Orchestra snare drum resting on chair.
Unknown orchestra member performing the Johann Ulrich Eberle bass.
Original program of Strauss conducting a Monster-Konzert, 1937
Photo above shown on right, provided by Dr. Otto Biba.
Comparison photo of Paul Wittgenstein on right.
Violinist and conductor, Hugo Gottesmann
possibly Harpist, Johanna Haumer
Violinist, Josef Geringer
Trumpeter, Franz Dengler
Likely trumpeter Helmut Wobisch, age 16
Orchestra setting photograph and selected research has been published by author, Michael Haas. For more information, go to:
https://forbiddenmusic.org/michael-haas-recording-producer-historian-academic-and-exhibition-curator/
A blog by F. Mark Latimer
This entry will attempt to carefully share an unexpected and compelling story; a recently discovered photograph showing over one hundred musicians seated on stage under the baton of Richard Strauss. Throughout the past five years, I have identified and researched nearly twenty orchestra members seated among friends and colleagues in this beautifully presented photo. Why is this iconography important? It is a glimpse in time provocatively illustrating extraordinary people who touched generations of musicians and left behind legacies spanning decades. A lucky few were so closely connected to Richard Strauss that they premiered his compositions and performed regularly under his baton. Tragically, several musicians of Jewish faith and ancestry abruptly perished at the hands of the Third Reich. At the same time, a lucky few escaped to the United States to revive their lives and musical careers.
In 1929, Vienna was the epicenter of classical music. Its citizens were beginning to feel the looming affects of economic hardship just before the crash of Wall Street in September of that year. Post World War I fall-out was palpable with rising National Socialism and looming anti-semitism. The debilitating economic hardships struck orchestras and their musicians hard. Still, musicians gathered to perform because of their inherent love of music, for their respect of a conductor, and for the common language of music spoken across all their religious and cultural borders. The discovery of this photograph warrants analysis, comment, investigation and even speculation. A spontaneous day-trip in March of 2018 resulted in an unexpected treasure.
Loudoun County, Virginia just outside of Washington, D.C., is the picturesque and rural home to a plethora of surprisingly interesting antique stores. And resting on the ground of a dingy second floor consignment shop and hiding behind other contemporary, tacky picture frames was a large black-lacquered frame with glass showing a handsomely dress orchestra sitting in a beautifully ornate concert hall. Herlango is embossed on its right bottom corner, its only identifying marking. After a quick Google search while still inside the shop, revealed is an Austrian photographic company and producer of folding plate cameras of the early 1920’s. This was the first and only piece of information gleaned before paying the embarrassingly low price of thirteen U.S. Dollars and departing for home. What is to follow is extreme excitement and ghostly intrigue. It was an unexpected discovery of coincidences; a pandora’s box where one question lead to another and another and eventually one musician connected to countless others. Once safely home, the search began online for Austrian concert hall images. Within minutes, it is certain to be the famous Wiener Konzerthaus opened in 1913. Understanding that when one is not looking for anything in particular and discovers a masterpiece of sorts, not everything is immediately revealed. There is a conductor standing on the podium, but under the circumstances, unrecognizable. Could this be Furtwangler, Klemperer, or Bruno Walter? It did not appear to be Brahms or Mahler. But discovering an immortal, a musician of this stature on the podium was equally unbelievable. The search ends with a “hair-raising on the back of one’s neck” moment. Revealed is Dr. Richard Strauss. After quickly searching for and contacting several Strauss scholars via email with a few questions, the first and most enthusiastic response came from by Dr. Dominik Šedivý of the Universität Mozarteum Salzburg (currently Director of the Richard Strauss Institute, Garmisch-Partenkirchen). Based on historical archives, concert repertoire, corresponding instruments, choir risers set behind the orchestra and other factors such as two harpists, an organist and a pianist, it is surmised that the photograph shows the occasions of 22 (Generalprobe/ open dress rehearsal) and 23 January, 1929. The program consisted of several choral works performed by the men’s choir of the Wiener Schubertbund and conducted by choirmaster, Viktor Keldorfer. He is partially pictured far left, with one hand on the stage banister. Strauss conducted one work with choir and orchestra on the concert, his Die Tageszeiten op. 76 based on the poems of Joseph Eichendorff and composed in 1927. Strauss had been approached at his home in Vienna about the eventual choral work after Keldorfer had serenaded him with the Wiener Schubertbund on Strauss’ 60th birthday. Keldorfer, who commissioned the piece just two years prior, lead its premier in Vienna on July 21, 1928.
22 January, was Strauss’ inaugural conducting performance of Die Tageszeiten.
Zwei Orchester-Konzerte (Satzungsgemäße Aufführungen); für den erkrankten Paul Wittgenstein ist Oskar Dachs eingesprungen
Strauss’ documented performances as conductor in the Wiener Konzerthaus number nineteen, and three as pianist. With the identification of at least one musician, it is certain the photograph dates before 1930. We will identify that musician shortly. This historical moment is captured in a unique presentation; possibly the only orchestral photograph of its kind showing Strauss and his musicians posing formally in white tie and tuxedo tails. The occasion is obviously significant, where meticulous planning and choreography of this formal setting would have taken place. Much care would have gone into such a fire-sensitive environment like the Vienna Konzerthaus, using a large flash explosion for enhanced brightness and long exposure for clear focus. It is a beautifully revealing exposition at the pinnacle of Strauss’ career and the Modern Era of classical music. But more profoundly, the photo is a portal into a very disruptive, murderous, and conflicted time-period. On the conductor podium stands Strauss posing with a confident and proud expression. He is delicately holding spectacles in his left hand and baton in his right. An orchestral score rests on the conductor’s stand where he lightly leans his right hand. Notice each musician meticulously placed in eye-sight of the photographer, as no one is obscured by another. Veiled behind the gold-leaf gilding are the magnificent organ pipes of the great Rieger Organ. This instrument was first played to inaugurate its creation with Strauss’ Festive Preludium in 1913. The wooden lid is closed and covering the five-manual keyboard. And the main body of the instrument sits dramatically in the center with a small metal light for easier reading. The three large draped lights are dangling high above the stage, like a trapeze wire almost out of sight. Oddly, the photo shows a standard number of percussion instruments to include snare drum, tenor drum, triangle, cymbals, and bass drum, yet none were scored in any of the repertoire programmed on 22 January. Timpani were indeed utilized. The timpani shown in the back of the orchestra are famous Schnellar timpani (with mallets comfortably resting on calf heads) originating in Holland and invented by timpanist and former member of the Vienna Philharmonic and Royal Concertgebouw Orchestra, Hans Schnellar. His improvements of timpani involved the invention of the hand crank in order to more easily raise or lower the note required. Both Mahler and Strauss encouraged Schnellar to improve the antiquated instrument. Schnellar’s inventions are still utilized on modern-day timpani. In the batterie section, a large triangle hangs from a stand and a small cymbal and tenor drum are exposed. Notice both the snare drum and metal tenor drum resting precariously sideways on wooden chairs. The tubist is apparently using a distinctive Berliner F tuba, and another B-flat tuba resting on the choir riser behind. The life and death of these incredible instruments will likely remain a mystery. Who were their creators and where are these instruments now? From Stradivarius to Guarneri, Matteo Goffriller to the craftsmen of the contrabass, the Ceruit family, these instruments may still sound across the globe. There is within the section of basses, a unique instrument that stands out from the crowd. It is likely a Johann Ulrich Eberle (Austrian, Vils, Tyrol 1699–1768 Prague) contrabass with distinctive F holes, like dancers carved out on both sides of the bridge. Like their caretakers in that time, these stringed instruments may have immigrated out of Vienna to orchestras around the world. Some may have perished.
How did this antique framed photograph arrive in Virginia? The shop was kind enough to give the seller’s information so more information could be gathered. It was sold approximately ten years ago at the weekly Naschmarkt on Kettenbruckengasse by a 90 year old and somewhatsenile Viennese gentleman to an American Foreign Service Officer living in Vienna. The new owner promptly sent the gift home to his wife where it was hung in their bedroom for a few years. Having grown tired of its stay, the couple decided to sell the piece to the Re-Love-It Consignment Shoppe in Purcellville, Virginia. The American owners had known nothing of its historical significance, nor whom was pictured. Currently identified to date are approximately 20 souls, some of the most talented musicians of Vienna and Europe. These musicians held positions with the Wiener Sinfonie, the Wiener Philharmoniker, Wiener Staatsoper and world-renowned string quartets. The findings will show that Richard Strauss invited the familiar and most-talented musicians Vienna had to offer to sit in specific chairs and perform in this orchestra. Also significant was the designation of the orchestra, only as the Wiener Sinfonie, also known as the Wiener Tonkünstler Orchestra. This assigned name for the concert is somewhat ambiguous; as several factors will be revealed in this hypothesis. First, charity “monsterkonzert” events were regularly conducted by Strauss and often organized during this severe time period of economic hardship and depression throughout Europe.
Oboist, Armin Tyroler of the Vienna Philharmonic (likely sitting second chair) helped organize large-scale concerts together with the Wiener Sinfonieorchester and the Orchestra of the Volksoper, and contributed proceeds to musicians in distressed circumstances of the day. Tragically, Tyroler was murdered in Auschwitz after being deported from Ghetto Theresienstadt in 1942. These identifications have been established, based on online research, personal outreach, and photo comparison. Identified here are musicians seemingly interconnected, not only by their participation in this photograph and subsequent concert, but by their connections to Maestro Strauss.
One comparison photo was revealed by scholar and archivist of the Wiener Philharmoniker, Dr. Otto Biba. He provided a photo of organist, Franz Schütz, born in Vienna on 15 April, 1892 and died 19 May, 1962. Schütz regularly performed and recorded with both the Vienna Philharmonic and Wiener Symphoniker in the Konzerthaus and Musikverien and frequently under the direction of Maestro Strauss. He is standing near the back, stage-right. As a teacher and performer, his career spanned decades. He twice joined the NSDAP, (membership number 1,087,608) on 21 May, 1932 and later in 1933. From 1938 to 1945 Schütz was director of the music academy and president of the Gesellschaft der Musikfreunde. His vast career placed him on several recordings under such notable conductors as Wilhelm Furtwanger, Clemens Kraus, and Karl Böhm.
Also standing stage-right upstage with one leg on a riser and slightly obscured, is likely the famous solo pianist, Paul Wittgenstein. Author and biographer, Alexander Waugh, author of The House of Wittgenstein: A Family at War, was contacted and suggested, “the body-posture of the man in your photograph is entirely consistent with Paul Wittgenstein. The face - as far as one can make it out.” Daughter of Paul Wittgenstein, Joan Ripley of Charlottesville, Virginia, corresponded several times over the phone and in emails. She was born in the U.S. in 1937 when Paul Wittgenstien was 49 years old. She spoke with less certainty about the identity of her father in the photo as she knew him only at a much older age. In this photo setting, Wittgenstien would be 41 years old. According to the Vienna, Neue Freie Presse of January 1929, Wittgenstein was to perform Franz Schmidt's, Konzertante Variationen on this concert. Ironically, Wittgenstien is present for the photo setting, but fell ill before the concert and did not perform. Several newspapers refer to this unfortunate and poor timing. Wittgenstein had just performed with the Wiener Sinfonie at the same Konzerthaus only days before, performing Erich Korngold’s Concerto for Piano and Orchestra for the left hand, under the direction of Anton Konrath. Why Wittgenstein did not perform Strauss’ concerto under Strauss’ baton, Panathenaenzug on 22 January is a curious question. According to author Kurt Wilhelm, in his An Intimate Portrait, Strauss had conducted Panathenaenzug that year without his friend and colleague. This concert would have been the first opportunity for Wittgenstein to perform under Strauss. Pianist, Oskar Dachs replaced Wittgenstein at the last moment and without rehearsal, performing Fantasie C-Dur “Wanderer-Fantasie” S 366, Bearbeitung für Klavier und Orchester nach Franz Schubert D 760 (1822/1852). Several photos of Oskar Dachs appear on-line and do not resemble the person on stage right. Wittgenstein being in such high demand, again performed on 11 March in the Konzerthaus, this time under the baton of french conductor and composer Rhené-Baton performing Richard Strauss’ Panathenäenzug. Symphonische Etude in Form einer Passacaglia op. 74 für Klavier linke Hand und Orchester. Wittgenstein’s story is one of historic proportions, beginning with a childhood friendship to Strauss. Strauss attended social gatherings hosted by Paul’s wealthy father and steel tycoon, Karl Wittgenstein. Injured, then captured by the Russians during WWI, Paul spent months in Soviet camps after having been shot by the enemy and his right arm amputated. After his return from the war, he restarted his solo career as the famous one-handed pianist. Strauss, Korngold, Prokofiev, Hindemith and others were contacted by Wittgenstein near the end of WWI while in captivity, and those correspondences led to the many famous left-handed concerti performed today; notably, Ravel’s, Concerto for the left hand. And Wittgenstien’s connection to the Wiener Sinfonie would continue famously with his premier performance of Ravels, Concerto for left-hand, on 5 January, 1932 under the direction of Robert Heger. Organist, Franz Schutz and pianist, Paul Wittgenstein appear here in black-tie tuxedos as opposed to the white tie and tails of the orchestra musicians. Wittgenstein eventually and timely immigrated to the U.S. through Cuba in 1938. After negotiating most of his family’s wealth to the Nazi regime, his sisters remained in Vienna while his famous brother and philosopher, Ludwig Wittgenstein immigrated to the U.K. Paul Wittgenstein became a U.S. citizen in 1946 and taught privately in New York from 1938-1960 and more formally at the Ralph Wolfe Conservatory in New Rochelle (1938-1943), also at Manhattanville College of the Sacred Heart (1940-1945). Wittgenstein died in 1961 and is buried in Pinegrove Cemetery, South Sterling, Pennsylvania only 4 hours from Purcellville, Virginia.
When the Wiener Sinfonie took the stage, Hugo Gottesmann (b. 8.4. 1896 - d. 22. 1. 1970) filled the positions of concertmaster and frequent conductor. Performing violin under conductor George Szell from 1921 to 1933, Gottesmann was appointed the regular Sunday conductor of the Vienna Sinfonie at the Vienna Musikverein in 1927. In this photograph, Gottesmann seems to be haphazardly sitting near the back of the first violins. Distant as Stwertka and Gottesmann were to each other on stage, their lives also took severely dissimilar paths. A decorated veteran of the Austro-Hungarian Army during WW1, Gottesmann was eventually discharged and soon formed his own string quartet, namely the Gottesmann Quartet. Members of his quartet over the next decade included some of Vienna's finest musicians to include violinist, Wilhelm Müller who had been a member of the Joachim Quartet; violists, Hugo Kauder and Marcel Dick; and cellists Richard Krotschak and Hermann Busch, members of the Wiener Sinfonie-Orchester. Gottesmann immigrated to the United States in 1936, first performing in the N.B.C. Orchestra under Bruno Walter. He joined the Busch Quartet in 1946, and eventually became concertmaster of the Fort Wayne (Indiana) Philharmonic. Gottesmann retired from the Fort Wayne Philharmonic after being diagnosed with stomach cancer for a second time and died on 22 January, 1970.
Founded in 1842, the Vienna Philharmonic never allowed women to become members until 1997. Male members suggested women would lower their musically high standards. In 1997, harpist Anna Lelkes became the first official female member of the orchestra. Like typical substitute musicians, she had performed for them regularly and was paid, but her name had never been listed in the program nor publicly acknowledged. In this compelling 1929 photo, pictured are two female harpists sitting among men of the Vienna Philharmonic, State Opera, and Vienna Symphony Orchestras. One of these harpists must certainly be Johanna Haumer, who made significant contributions to both chamber and orchestral performances. Her career was prolific, having been on the stage of the Wiener Konzerthaus from as early as 18 April, 1920 consistently through 10 November, 1949. She is named at least sixteen times as a chamber musician and soloist in Konzerthaus program booklets. Unknown if other photos of her exist. She is likely pictured here. Conductors for whom she performed included Martin Spörr,Victor Keldorfer, and of course, Richard Strauss.
Josef Geringer, born 8 March, 1892 in Sniatyn/Galizien is seated in the second violin section. His is a story worthy of the cinema. Author and contributor to the Vienna Philharmonic’s website, Bernadette Mayrhofer has written extensively on his life. At one time imprisoned in
Dachau’s concentration camp, Geringer was later released due to certain connections made with the Wiener Philharmoniker. His life was saved when he was able to escape to the U.S. on a ship from Rotterdam to New York. His musical endeavors began in the U.S. without fanfare, but he eventually performed in the New Orleans Symphony as concertmaster and later in New York performing with the Metropolitan Opera. He died in New York in 1979 at the miraculous age of 87.
As a student, Richard Krotschak became solo cellist with the Vienna Sinfonie in 1924 and remained until 1934. Born on 30, December 1904 in Holzmühl near Jihlava, he first studied at the Prague Academy and later at the Vienna Music Academy under cellist, Felix Buxbaum. He spent the majority of his career performing and teaching, mostly at the Vienna Academy. His career was quite prolific, especially as a chamber musician having spent much of his musical life performing from 1937 as a member of the Schneiderhan Quartet (with O. Strasser and Ernst Moravec) as well as a member of the Musikverein Quartet, the Boskovsky Trio (1937–49) and the Barylli Quartet. From 1945–1969 he was a contract teacher, 1969–1978 lecturer for violoncello at the Vienna MAkad where his students included Franz Bartolomey, Georg Frischenschlager and W. Resel. Later as solo cellist with the Wiener Philharmoniker, Krotschak recorded with pianist, Erwin Baltzer. Krotschak was a frequent soloist under Strauss and specifically Don Quixote. On 5 February, 1931 Krotschak soloed with the Wiener Sinfonie under Dr. Strauss in the Musikverein. He died in March, 1989 after having received several awards to include the Silver Medal for services to the Republic of Austria in 1955, and the Cross of Honor for Science and Art 1965.
Considered in his day to be one of the finest orchestral trumpet players in the world, Franz Dengler, born 1890 in Karlsbad, had a monumental and historically significant career. Sitting in the principal trumpet chair, we see yet another Strauss connection to his Viennese colleagues. Dengler studied at the Dresden Conservatory and was influenced by trumpet player, Eduard Seifert of the Dresden Royal Orchestra. Seifert had performed under Strauss and premiered many of his works. Dengler was appointed principal trumpet of the Berlin Opera Orchestra at the request of Richard Strauss in 1908. In 1918, Dengler joined the Vienna State Opera performing also with the Philharmonic. From 1934 to 1951, he performed as principal trumpet of the Vienna Philharmonic while also teaching at the Vienna Conservatory. During WWII, Dengler joined the Nationalsozialistische Deutsche Arbeiterpartei and was eventually relieved of duties at the School of Music Vienna on 13 June, 1945. He was eventually cleared by the Commission on Denazification on 3 December, 1945. His Jewish girlfriend, Marie Grubstein testified she was living underground while Dengler presumed he could keep her safe by becoming a party member.
A controversial member of the Vienna Philharmonic and student of Franz Dengler, was trumpeter, Helmut Wobisch. This photo may show a young Wobisch (approximately 17 years of age) sitting at the far left of the section, towering in height over the other trumpeters. His career successes were similar to those of his predecessors. Born 25 October, 1912 Helmut Wobisch studied philosophy and chemistry at the University of Vienna and concurrently music at the Vienna Music Academy. Nazi affiliation was deep and much has been documented. In short, he was member of the NSDAP and the SS, and took part in the July Putsch. Later, he became head of wind instrument training for Hitler youth, all while being listed by the authorities as an informant. He first became a stage musician member of the StatsOper in 1936 and later a full-time member of the Philharmonic and Oper Orchestra in 1939. From 1954 to 1968 Wobisch held the principal trumpet position while also being awarded Managing Director of the Philharmonic. His close relationship with Leonard Bernstein was both criticized and critical to the conductor’s successes in Vienna. In the piece published by the Jüdisches Museum Wien Judenplatz, Ein New Yorker in Wien, Nazi hunter Simon Wiesenthal had warned Bernstein of Wobisch’s affiliations. But that warning eventually fell on deaf ears, with Bernstein later charmingly naming him, “my dearest Nazi.” In 1969, Austrian parish provost Jakob Stingl, along with Helmut Wobisch founded the Carinthian Summer Music Festival in the city of Villach. It continues to be one of Austria’s most prestigious music festivals.
Ignaz Ganz- violine, member of Gottesmann Quartet & Wiener Sinfonie
Kark Vargits: horn
Hof-Operntheater Wien, 1890
Where was this photograph hiding and how did it survive the bombing and Nazi pillaging? Certainly, a photograph showing an orchestra of multiple religions including many of Jewish decent would have been stolen and destroyed during the German Anschluss of 1938. And why is there continuing doubt and a lack of interest from scholars about a photo showing a combined orchestra of the Vienna Philharmonic, Vienna Sinfonie, StatsOper musicians and soloists? In correspondence with one scholar, (to remain anonymous here) they stated, “ In my opinion, this photo is not meaningful enough to search out a particular concert event. Maybe the soloists and other contributors are missing in the photo - we do not know…In the photo I can only recognize Josef Zimbler, a violinist of the Wiener Sinfonie-Orchester. Unfortunately, I can not assign the other musicians, but the Wiener Symphoniker has a difficult biography in the course of which many important documents have been lost. According to our documentation, in 1929 there was no "Monster-Konzert" with Strauss.” Whether an educator or historian, one has a duty to publish new information. As students, educators and citizens of the free world, there is an inherent right to discover and learn from unearthed information. What will new information reveal about these unidentified musicians? This photograph may be the only surviving portrayal of those musicians who lost their lives as a result of the holocaust. It was an orchestra proudly together on stage, arguably a society of friends rich with religion and culture during a poor and economically depressed time-period. And more frightening was an uncertain and maniacally political future staring them in the face. The photo provokes many questions, but also answers a frequently asked and important one; was Strauss complacent to the slow and steady rise of anti-semitism and national socialism? Here in 1929, Strauss seems to intentionally desire the best Vienna could offer, no matter their religion, no matter the accusations.
And Then, There Were Two
On the 2nd of March, 2020 while continuing research for this project another photo identical to the first was coincidentally found online, this time miraculously showing Strauss’ signature and date. Strauss himself signed his name, penned Wien, and dated the matte 23.4.29. This photograph was discovered without glass and frame, but was again matted in the exact same manner as the first, and only slightly damaged. Luckily, it was available for purchase and sitting coincidentally in a Bayreuth, Germany antique store. After a quick phone call with Antiquariat, Rainer Schlicht, prompt arrangements were made for the newly found photograph to be purchased and mailed to Leesburg, Virginia. Now with a date in-hand, more researched could follow where it was determined a concert took place in the Wiener Musikverein with even greater instrumentation and Strauss again conducting, this time its entire program. According to the Richard Strauss Chronik, by Franz Trenner this entry is noted only as “RAVAG-Konzert” where the performance was to be broadcast throughout Austria. Today’s existing broadcast company Österreichische Rundfunk, ORF and Erik Stanek of the Multimediales Archiv, unfortunately found no records of this concert in their archives. From 1924 to 1938, the first phase of "Radio Verkehrs AG" represented the pioneering days of radio in Austria. Also interesting is the connection with Hugo Gottesmann. In 1927, Gottesmann was made “Conductor” or head musician of the RAVAG. It had only been first broadcasting in 1924, but due to frequent performances by the violinist, he was put in charge. The rare broadcasts of culture, sport, politics, religion and news reflected the beginnings of Austrian radio history. On January 30, 1926 a Festival Concert was given by the Vienna Philharmonic, Vienna Male Chorus and conducted by Franz Schalk to mark the opening of the large RAVAG transmitter. That concert took place in the Konzerthaus, Great Hall. RAVAG was eventually shutdown by the National Socialists in the July Putsch of 1934, and later in March of 1938. It was demoted to the Reichsrundfunkgesellshaft Broadcast Company. And in 1939, the company was completely deleted from the company register.
Below is the repertoire and required instrumentation:
Concerts April 23, 1929 - 8:00 p.m.
Musikverein
Richard Strauss, Dirigent
Franz Schütz,Orgel
Ferdinand Folba, Klavier
RICHARD STRAUSS
conductor
VIENNA SYMPHONY ORCHESTRA
RICHARD STRAUSS
"An Alpine Symphony", symphonic poem op. 64
RICHARD STRAUSS
"The Citizen as Nobleman", orchestral suite from the stage music for Molière's comedy op. 60 (IIIa)
RICHARD STRAUSS
Festive prelude for organ and orchestra op. 61
Le bourgeois gentilhomme (Strauss)
Woodwind: 2 flutes (1 doubling piccolo), 2 oboes (2 with English horn), 2 clarinets, 2 bassoons (2nd doubling contrabassoon)
Brass: 2 horns, 1 trumpet, 1 bass trombone
Timpani and the following percussion (3 players): cymbals, tambourine, triangle, bass drum, snare drum, glockenspiel
piano, harp, strings
Festliches Praeludium: für grosses Orchester und Orgel
Alternative Title
Composer Strauss, Richard
Key C major
Instrumentation Orchestra: piccolo, 4 flutes, 4 oboes, heckelphone, E♭ clarinet,
4 clarinets (2 in C, 2 in A), 4 bassoons, contrabassoon,
8 horns in F/C, 4 trumpets in F/C (+6 offstage), 4 trombones, tuba,
timpani (2 players), cymbals, bass drum, organ, strings
An Alpine Symphony is scored for a large orchestra consisting of:
4 flutes (3rd and 4th doubling piccolos)
3 oboes (3rd doubling English horn)
1 heckelphone
1 clarinet in E♭
2 clarinets in B♭
1 bass clarinet (doubling clarinet in C)
4 bassoons (4th doubling contrabassoon)
8 French horns (horns 5–8 double Wagner tubas)
4 trumpets
4 trombones
2 tubas
12 offstage horns
2 offstage trumpets
2 offstage trombones
Percussion timpani (2 players) snare drum bass drum cymbals triangle tam-tam
Cowbells wind machine thunder machine glockenspiel
Keyboard- celesta organ
Strings2 harps 18 violins I 16 violins II,, 12 violas, 10 cellos, 8 double basses
Article: A second Richard Strauss concert, Die Stunde 25.4.1929
* A second Richard Strauss concert.
Once again, Richard Strauss conducted a concert of his own orchestral works. The program contained, as if on purpose, only those which have not become popular, and which we do not think of when the master's deeds are listed – the Alpine Symphony, the suite "Bürger als Edelmann" and the "Festliches Präludium". But strangely enough: every revision of judgments about Strauss is in his favor. With increasing familiarity, we find ourselves in greater and greater admiration of the unprecedented technical mastery of, say, the depictions of nature, the delicate arabesques of the music to Moliére, the magnificent determination to have a festive effect, and the almost magnificent fluency with which that effect is achieved: these are probably the most irresistible C-major cadenzas in all of literature: to this, throughout one evening, was added an almost unearthly conducting performance. The symphony orchestra exceeded itself, and the audience cheered. Hugo Knepler, however, sat at a second violin desk and bravely played along.
The repertoire programmed for this concert broadcast was of epic proportions and certainly meaningful for many Austrians struggling during this time. The current archives of the Musikverein contradict the facts and state that in 1932, Musikverein concerts were broadcast live on the radio for the first time. It is obvious here that the origin of radio broadcasts is a few years earlier. There was an obvious willingness for Strauss to provide a need, a radio broadcast to Austria at a time when culture and capitalism were fading and severe economic conditions were widespread. Strauss’ chosen repertoire for this event conveys an air of national pride, nature, and a bit of ego during this slow and steady rise of the Third Riech. It is plausible that Strauss planned the making of the photograph during his visit in January of 1929 while friend and musical colleague, Paul Wittgenstien was to perform. After Herlango had developed and prepared the photograph, it is likely that upon Strauss’ engagement in Vienna for the RAVAG radio broadcast, he then signed and dated the photograph. But why the designation in archives of Wiener Sinfonie rather than MonsterKonzert or Wiener Philharmoniker? It is plausible that because the orchestra consisted of such a mixture of musicians from varying ensembles, that the organizers did not know what designation to give. Why not designate this to be another Monsterkonzert with Strauss conducting? According to archivists of the Konzerthaus, Strauss conducted there for last time on 16 April, 1942 “with old friends who are now well known to the visitors: the “Festive Prelude” and the Alpine Symphony again. The two Viennese orchestras played together again - probably to meet Strauss' quantitative demands on the orchestra.” For a few of these devout musicians, there was sheer luck in escaping. Others foresaw the impending danger and were able to escape Nazi Germany with the help of friends and family. Many underestimated the growing hate and anti-semitism that was coming their way including Strauss himself who saw the Nazi party as yet another potentially failed attempt at government like those he witnessed before. There would be in a few short years, a frighteningly widening gap of ideologies between those onstage that would divide longtime friendships and professional relationships. Dedicated and profoundly obligated to their art and purpose in life, the apolitical and political would continue to give their greatest gifts through music. Their gifts of talent, pedagogy, and invaluable experience are received with great appreciation to those of us performing around the world today. Even in uncertain times, the gift of music can stand against all conflicts seen and unseen. I hope this article will shed more light on the horrors of the day, and on the importance and appreciation for those that escaped and kept their music alive.
My connection as a member of “The President’s Own” U.S. Marine Band
A White House Connection: Richard Strauss was invited by President Teddy Roosevelt to attend a White House reception at 2:45 p.m. on 26 April, 1904, followed by a recital of twelve songs sung by Pauline. Their mutual interests were not of music but of nature. Prior to his Presidency, Roosevelt lost both his wife and mother on the same day, 14 February, 1884. So to clear his mind and look for inspiration, he traveled to the Badlands of South Dakota, resulting in the Conservation Act which became one of Roosevelt's defining moments. After becoming president in 1901, Roosevelt used his authority to protect wildlife and public lands by creating the United States Forest Service (USFS) and establishing 150 national forests, 51 federal bird reserves, 4 national game preserves, 5 national parks, and 18 national monuments by enabling the 1906 American Antiquities Act. During his presidency, Theodore Roosevelt protected approximately 230 million acres of public land. Today, the legacy of Theodore Roosevelt is found across the country. There are six national park sites dedicated, in part or whole, to our conservationist president.
Contributors
Much gratitude and appreciation is given to these scholars for their assistance in providing invaluable resources and expertise on the life of Richard Strauss and orchestras of Vienna.
Dr. Dominik Sedivý, Institutsleiter Richard-Strauss-Institut
Dr. Erwin Barta, Archivist, Wiener Konzerthaus
Dr. Otto Biba, Direktor Archiv, Bibliothek und Sammlungen der Gesellschaft der Musikfreunde in Wien
Mag. Ulrike Grandke, Orchesterbüro / Historisches Archive, Wiener Symphoniker
Dr. Bryan Gilliam, Author, Historian and Professor, Duke University retired
Dr. Silvi Kargl, Archivist Vienna Philharmonic
Mag. Bernadette Mayrhofer, Author, Orchestrierte Vertreibung, Unerwünschte Wiener Philharmoniker Verfolgung, Ermordung und Exil, contributor to Wiener Philharmoniker website
Dr. Fritz Trümpi, Author, Orchestrierte Vertreibung, Unerwünschte Wiener Philharmoniker Verfolgung, Ermordung und Exil and The Political Orchestra
Alison Fulmer, Assistant Archivist Boston Symphony Orchestra
Mrs. Joan Ripley, daughter of Paul Wittgenstein
Oliver Rathkolb, Austrian historian and professor for contemporary history at the University of Vienna, managing editor-zeitgeschichte
Dr. Matthew Werley, Prof. Mozarteum University, Salzburg
Dr. Michael Haas, Historian, record producer, and exhibition curator of Musik des Aufbruchs (‘Music in Transition’) as Music Curator at Vienna’s Jewish Museum
Daniel Goldman, Ing. Daniel Goldmann B.A., CTS Geschäftsführer | Managing Director Visual Advanced Expert & Installer, Renox Audiovision GmbH Viktorgasse 14 A-1040 Wien www.renox.at Herlango
Correspondence from Herlango:
Dear Mr. Latimer,
sadly I have to tell you, that we do not possess any records concerning who took the photos back then. And I doubt that they ever existed, as Herlango back then produced cameras and Film and most likely developed the picture in question (which would be why the logo is imprinted).
What I can speculate about is, that the camera was most likely produced by my great grandfather, at the site that I am currently writing from. The cameras where produced until 1926 and we where KuK purveyor to the court when there still was a monarchy.
I’m sorry that I can’t be of more help to you.
Bei Fragen sitze ich nur einen Anruf entfernt.
With best regards,
Mit freundlichen Grüßen,
Daniel Goldman, Herlango
The Concertmaster
1. Julius Stwertka (Swertka) Sitting in the concertmaster chair is Julius Stwertka, born 7 March, 1872 in Vienna. In 1929, Stwertka would normally be sitting second to Alfred Rosé of the Vienna Philharmonic, but seems here to have been chosen by Strauss to perform in this important chair. Early in his career Stwertka was recruited from Hamburg, Germany by Gustav Mahler. Conductor, Karl Muck recruited Stwertka for a short time to sit first violin with the Boston Symphony in 1907. He was also engaged as concertmaster for positions with the Vienna State Opera Orchestra and Vienna Philharmonic (1902- 1936). In March of 1939, approximately a year after his retirement, Stwertka and his wife Rosa were deported to the Jewish ghetto in Theresienstadt. Julius Stwertka died in Theresienstadt only a few weeks following his deportation from Vienna on December 20, 1942. His wife was sent to Auschwitz in 1944.
First Violins
2. Joseph Zimbler Born in 1882, violinist Josef Zimbler sitting second to Swertka, immigrated to Buenos Aires, South America via the ship Neptunia, on 22 August, 1938. His orchestral career was significant, performing as concertmaster of the Vienna State Opera and as frequent soloist and chamber player with the Vienna Symphony. His performances were extensive at both the Wiener Konzerthaus and the Musikverien dating as early as 1909 through 1935. Notated as a “Popular Concert Program” and organized by the Wiener Konzerthausgesellschaft, Zimbler soloed with the Vienna Sinfonie on Christmas Day, 25 December, 1922 performing Beethoven’s Violin Concerto under the director, Rudolf Nilius. Again shown here, is the photo of Zimbler performing in his trio with pianist, Käthe Kollser and cellist, Lucian Horwitz.
43. Max Rostal Yet another example of musical legacy is the epic life of Max Rostal. His role in the history of violin playing is significant. Known foremost as a teacher at the Hochschule in Berlin, the Guildhall School of Music in London, and later Musikhochschule Köln (1957-1982) and the Conservatory in Bern (1957-1985), Rostal began performing at a very young age. Born 7 July, 1905 in Cieszyn, near the Polish boarder, his family soon moved to Vienna where at age 8 he studied with famed Vienna Philharmonic violinist, Arnold Rosé. Rostal was the winner of the Mendlesohn Scholarship in 1925. And in 1926, he married cellist, Sela Trau later having one daughter. His International Max Rostal Competition, established in 1991 takes place today every three years at the famed Berlin Universität der Künste.
5. Franz Mairecker, sitting amongst the first violins, was a prolific professor and performer. His musical career was injected with a membership of the NSDP as well as an eventual stand against those of whom he was towing the line. Born in Gumpoldskirchen, Austria on 11 April, 1879 Mairecker joined the Vienna Philharmonic in 1898, eventually becoming concertmaster in the State Opera and Philharmonic Orchestra in 1921. He regularly participated in committees and was on the Philharmonic’s board. A frequent chamber performer, Mairecker founded the Mairecker Quartet at the end of 1930 with members Max Weißgärber (2nd V.), E. Morawec (Va.) and R. Krotschak (Vc.). As a prolific professor, he taught at the Academy of Music, Vienna
7. Paul Fischer - Violinist, born 5 August, 1876 performed with the Vienna Staatsoper, the Vienna Philharmonic and the famous Rosé Quartet where he premiered many important works of chamber music literature to include Arnold Schönberg's String Quartets op. 7 and op. 10. A member of the Vienna Philharmonic for decades, Fischer was present for Strauss again, seemingly selected by Strauss himself as the familiar and best Vienna could offer. Fischer joined the Court Opera and WPO in 1889. Like Horwitz, Fischer was black-listed from the Bayreuth Festival. He too, was prominently featured in the Silenced Voices Exhibition of 2012. According to Heer’s research for the exhibition, Fischer had performed at the Bayreuth Festival in 1931 with the famous Alfred Rosé Quartet. Alfred Rosé, violinist, concertmaster of the Vienna Philharmonic and founder of his quartet, was also banished from the Festival for his Jewish heritage. Fischer’s forced-leave from the Vienna Philharmonic took place on 23 March, 1938. He fell ill and later died on 4 November, 1942 in the Jewish hospital in Malzgasse 16, in the second district of Vienna.
47. Cellist, Lucian Horwitz was born 12 August, 1879 in Vienna, Austria-Hungary. His professional career encompassed roles as chamber musician, orchestra member, and soloist. Historian, Hannes Heer has documented his life and dozens of others in the 2012 exhibition, Silenced Voices, in Bayreuth, Germany. This outdoor exhibition placed on the hill of the famous Festspielhaus powerfully documents dozens of musicians who were barred from performing at the Bayreuth Festival. Although it was organized separate from the Festival events, both co-chiefs Katharina Wagner and Eva Wagner-Pasquier allowed the project to take place and pledged to unlock festival archives to historians for research. Melissa D. Burrage, author of The Karl Muck Scandal, documents Horwitz who had performed as a Bayreuth Festival substitute musician for many years, also having been a member of both the Berliner Philharmoniker and Vienna Tonkunstler-Orchestra. In 1924, Conductor Karl Muck, who’s affiliation and philosophical beliefs of anti-semitism co-existed with Hitler’s, black-listed Horwitz with a swastika designation next to his name along with fellow jewish musicians. The exhibition in 2012 included a photo of Horwitz cropped from an original photo showing Josef Zimbler and pianist, Käthe Kollser performing in a trio setting. Zimbler and Horwitz both appear in this Konzerthaus photo sitting on stage near each other behind Richard Strauss. In a piece written by Simon Morgan of Agence France-Presse, she writes that Horwtiz continued to perform regularly in his home city at least until 1927, but after Germany's annexation of Austria in 1938, he found himself persecuted by the Nazis. This Konzerthaus photo obviously puts Horwitz on stage with his colleagues to include Zimbler in Vienna in 1929, possibly at the generous bequest of Richard Strauss. Horwitz’s appearance on stage in this photo setting is significant. His designation as a black-listed Jew by conductor Karl Muck must have been known to Strauss at this time, as the scandal took place only five years earlier. Yet, pictured in front is Horwitz sitting in his regular chair performing alongside his colleagues. Tragically, Horwitz was deported to Theresienstadt in 1942 and then to the Auschwitz concentration camp two years later. An exact date of his death is unknown.
29. Violinist, Josef Geringer, born 8 March, 1892
38. Bernar Heifetz b.Benar (Bernard) (Bernhard)Heifetz, born in Mogilev, Russia on 11 December 1899, died 8 April 1974 in Manhasset, New York. He studied first at the St. Petersburg Conservatory and later under Julius Klengel in Leipzig, Germany. He gave his first concert in St. Petersburg in 1915. A storied and successful career, Heifetz’s spanned continents and connected with orchestras throughout the United States, including sitting Principal Cello of the Philadelphia Orchestra under Eugene Ormandy in 1939. In 1943 he moved to the N.B.C. Symphony Orchestra under Toscanini. A sought after teacher, Heifetz taught at Temple University in Philadelphia, the Aspen Festival, Indiana University and the Manhattan School of Music. As a member of the Kolisch Quartet, the bulk of Heifetz’s career was that of a chamber musician having premiered some of the most important works of the century. He premiered string quartets by Arnold Schönberg , Alban Berg, Anton Webern, Ernst Krenek , Béla Bartók , Darius Milhaud , Paul Amadeus Pisk , Karol Rathaus , Rudolf Réti , Bohuslav Martinů , Leo Weiner, Alexandre Tansman and played in 1936 / 1937 all four Schönberg string quartets in Los Angeles . He also performed in piano quartets and quintets, the world premiere of Anton Webern's String Trio op.20 on 16 January 1928 (with Kolisch and Lehner), which the three musicians subsequently included in their repertoire, and also at performances of Schönberg's "Pierrot lunaire" from 1928 to 1930 in Vienna, Heidelberg, Nuremberg, Cologne and London, which Erwin Stein conducted (with Erika Wagner or Marya Freund, voice vocals, Kolisch , Franz Wangler, flute, Viktor Polatschek, clarinet and Eduard Steuermann , piano). Occasionally, Heifetz appeared as soloist. He soloed in Kassel at the end of 1930 with Kolisch in Johannes Brahms' double concert and in autumn 1933 with Wiener Rundfunk with Kolisch and Helmsman in Ludwig van Beethoven's triple concerto.
37. As a student, Richard Krotschak became solo cellist with the Vienna Sinfonie in 1924 and remained until 1934. Born on 30, December 1904 in Holzmühl near Jihlava, he first studied at the Prague Academy and later at the Vienna Music Academy under cellist, Felix Buxbaum. He spent the majority of his career performing and teaching, mostly at the Vienna Academy. His career was quite prolific, especially as a chamber musician having spent much of his musical life performing from 1937 as a member of the Schneiderhan Quartet (with O. Strasser and Ernst Moravec) as well as a member of the Musikverein Quartet, the Boskovsky Trio (1937–49) and the Barylli Quartet. From 1945–1969 he was a contract teacher, 1969–1978 lecturer for violoncello at the Vienna MAkad where his students included Franz Bartolomey, Georg Frischenschlager and W. Resel. Later as solo cellist with the Wiener Philharmoniker, Krotschak recorded with pianist, Erwin Baltzer. Krotschak was a frequent soloist under Strauss and specifically Don Quixote. On 5 February, 1931 Krotschak soloed with the Wiener Sinfonie under Dr. Strauss in the Musikverein. He died in March, 1989 after having received several awards to include the Silver Medal for services to the Republic of Austria in 1955, and the Cross of Honor for Science and Art 1965.
66. Trumpeter, Franz Dengler
53. Undisputed wunderkind, Gottfried von Freiberg is sitting in the solo horn chair. Born 8 April, 1908 von Freiberg was a student of his Uncle, Karl Stiegler, principal horn of the Vienna Philharmonic and horn professor at the Vienna Music Academy. He began his professional career as a member of the Karlsruhe Orchestra under Josef Krips in 1927 and performed in the Bayreuth Festival Orchestra in the summer of 1928. That same year, he joined the Vienna State Opera Orchestra. Seen here performing in 1929 in this diverse orchestra setting, he later would go on to succeed his teacher as solo horn of the Vienna Philharmonic in 1932 certainly cementing his reputation as a young Wunderkind. Interestingly, Gottrfeid’s musical career took him abroad, joining the Boston Symphony under Koussevitzky for only a year. Reportedly, the climate did not agree with him nor his horn playing. Anti-German sentiment was so palpable that it forced the end of his short tenure. Now back in Vienna, his Jewish bloodline put him in a precarious position. His grandfather was Jewish and the German authorities including Josef Goebbels, were all too aware. His status with the VPO during the war was in constant imbalance. He remained with the orchestra, only because of his superior performance and connections with Maestro Furtwängler, who likely protected him. Gottfried’s brother was in the medical corps. According to hornist and former student/author Robert Freund, “It was a well-known fact that Freiberg not only strictly rejected Nazi ideas but was considered a “Mischling,” having a Jewish grandfather – a potential death sentence. Only a few days after the “Anschluss,” Freiberg came to know the new Hitler regime firsthand through two letters, one confirming his classification as a “quarter-Jew,” the other dismissing him from the Academy. Thanks to the support of the famous conductor Wilhelm Furtwängler in front of the highest Nazi authorities in Berlin, Freiberg and eight other “undesirable” members of the Vienna Philharmonic were allowed to remain in the orchestra. Thanks to this “special permit,” the Academy reversed its decision and rehired Freiberg. Many other “politically objectionable” members were immediately dismissed or had already fled. During the war, these nine members of the Philharmonic were miserable. Any decline in their artistic level, e.g. for health reasons, would have led to an immediate dismissal.” Richard Strauss composed his Horn Concerto No. 2 in E-flat major, in Vienna in 1942. The Strauss connection is again evident here as the work was premiered in 1943 at the Salzburg Festival by Gottfried von Freiberg. The first recording was also performed by von Freiberg under the direction of Karl Böhm and the Wiener Philharmoniker.
14. Pianist, Paul Wittgenstein
(on his right is choral conductor, Viktor Keldorfer)
71. Trombonist, Joseph Habrada
36. Marcel Dick - Performing in the principal viola chair is Marcel Dick. Born August 28, 1898 into a wealthy Jewish family in Miskolc, Hungary, his life certainly had two distinguished and influential periods; one in Vienna and one in the U.S. In 1924, Dick joined the Wiener Sinfonie and was also a member of the Gottesmann Quartet. As one of the founding members of the Kolisch Quartet, he and his colleagues specialized in performances of Arnold Schoenberg, also a close friend. He performed many world premieres of Schoenberg to include Serenade, Op. 24, which was the first time a 12-tone work was presented in public. Dick was also a member of the Vienna String Quartet. In 1934, when anti-Semitism was ubiquitous in Vienna, Dick was told that he would be granted the title of “honorary Aryan.” Ultimately, sensing the impending conflict due to his Jewish heritage, he immigrated to New York City in 1934. His successes continued as a member of the Detroit Symphony and then the Cleveland Orchestra under George Szell from 1943-1949 as principal viola. As Professor, he chaired the Composition Department of the Cleveland Institute of Music from 1949-1973. A recipient of the Cleveland Arts Prize in 1962, Wilmer Salsbury writes of Dick, “His earliest compositions were influenced by Wagner and Mahler. However, after he became a disciple of Schoenberg, he embraced the 12-tone system and made it his own. His music, serious in tone and contrapuntal in texture, is revealed with lyrical expression within traditional forms, including sonata, symphony, variations and fugue.” Symphony no. 1 (1948), the first full-length 12-tone symphony, was premiered by the Cleveland Orchestra under the direction of Dimitri Mitropoulos and reviewed by Cleveland News music critic Elmore Bacon, who praised Dick’s “magical gift for orchestration.” Dick also conducted the Cleveland Orchestra in premieres of his own works, Adagio and Rondo for Orchestra (1951) and Capriccio for Orchestra (1955). Marcel Dick died in 1991.
99. Viktor Polatschek Confidently sitting in the principal clarinet chair is Viktor (Victor) Polatschek, born 29 January, 1889 in Chotzen (Choceň in Czech) Bohemia, in what is today the Czech Republic. He performed in both the Vienna State Opera and Vienna Philharmonic from 1912 to 1930. His identity notably dates this photograph. He began teaching at the Vienna Music Academy in 1921 while playing at the Vienna State Opera. After leaving Vienna and immigrating to the U.S. in 1930 Polatschek joined the Boston Symphony as Principal Clarinetist under Serge Koussevitsky. His clarinet was manufactured in the early 1900s by the pre-eminent woodwind maker in Vienna, Franz Koktan and Sons. Some notable students included Alfred Boskowsky, Viktor Korda, Hans Kremsberger and Eric Simon. His prominence as a performer and pedagogue goes well beyond Europe where his Advanced Studies for Clarinet is still performed by students and professionals throughout the world. These etudes were based on themes from famous works, including of Schoenberg’s, Pierrot Lunaire. Two important and challenging clarinet primers were the 12 Etudes for Clarinet and Advanced Studies for Clarinet. Polatschek was also a musical adviser to the Edward B. Marks Music Corporation. He was said by one of his students, Professor Henry Gulick of Indiana University, to be “an impeccable musician, with great taste in music, with a very courtly and refined personality.” Polatschek died suddenly in 1948 at the early age of 60 while performing at the Tanglewood Music Festival.
104. Timpanist, Ludwig Nemec
83. Organist , Franz Schütz, born in Vienna on 15 April, 1892 and died 19 May, 1962.
105. percussionist
106. percussionist
107. percussionist
80. Bassist
79. Bassist
78. Bassist
77. Bassist
76. Bassist
75. Bassist, possibly Wilhelm Jerger
74. Bassist
73. Bassist
72. Trombonist
71. possibly trombonist Joseph Hadabra
70. trombonist
69. likely tubist, Friederich Knapfe
68. likely trumpeter, Helmut Wobisch
67. trumpeter
64. trumpeter
58. Horn- Hans Koller
64. trumpeter
65. trumpeter
64. trumpeter