“Korngold was far classier than anyone Hollywood had encountered before, and everyone was in awe of him. His contract was unique, and he was spared the assembly line methods of other studio composers.… Continue reading
“Clemens Krauss left the Vienna Opera in 1934, and Die Bakchantinnen was not revived in Austria. Egon Wellesz had in any case turned a corner: Die Bakchantinnen would be his last stage work until Incognito,… Continue reading
Jörg Moser-Metius’s film about the Kroll Oper is now available on DVD. This opera house, in the shadow of the Reichstag, was one of the most innovative theatres in Europe during the 20s… Continue reading
“By 1938, nearly every Austrian and German Jew was concerned with finding an affidavit somewhere, somehow, from someone. […] Gertrude Zeisl, wife of the composer Erich Zeisl, managed to lay her hands on… Continue reading
This is Erich Zeisl’s family in Baden on the night before they left Austria.
“After the war, Zeisl, Toch and Korngold left studio work as quickly as they could, sensitive to the harm it would do their reputations and fearful of the damage inflicted on their talent… Continue reading
“After working with me as producer on several recordings, Michael Haas led me to this rich and largely unknown body of repertoire. Forbidden Music by Michael Haas shines a spotlight on musical treasures that would… Continue reading
“[Egon] Wellesz singles out Schreker’s Die Gezeichneten as his greatest achievement, with its dramatic power and brilliant orchestration. Composed in 1913–15, it demonstrated that the diatonic language Schoenberg believed to be exhausted could… Continue reading
Maria Schreker as Grete in her husband’s opera Der ferne Klang.
“This is not a book about Nazis but about the composers who were lost, and the musical trends they established before being banned, murdered and exiled. It also examines the tragic postwar developments… Continue reading