The aesthetic empire of Mahalal Warfil
The first challenge is to determine what you call. She is surrounded by famous titles – men were wandering in her identity. Alma Maria Shendler, the daughter of opera singer Anna Bergen and Landscape Ayer Shendler, is the daughter of Opera singer Anna Bergen and Landscape painter Emile Shendler, the daughter of opera singer Anna Bergen and Landscape painter Emile Shendler, who is a descendant of Zanaf Vienna, which is a Slicer Rose in Vienna in Vienna, Alma Maria Shendler, the daughter of opera singer Anna Bergen and landscape painter Emile Shendler. She was hoping to make her way as a composer, but this dream ended, in 1902, at the age of twenty -two, she married Titan Gustav Macar. After the death of McLer, in 1911, she had a relationship with the artist Oscar Kokushka, and then briefly married the architect Puhaus Walter Grobius. Her last husband was the writer Franz Werville, who followed him to exile, first in France and then in the United States, where she settled in Los Angeles. She lived until 1964, the legendary widow of the twentieth century. Those who write about it – there was eight biographies and a half of the novel from the novel – to refer to it as pain. This has an unfortunate effect to make her voice like a little girl with adult men. It is better to contact her with the name that was buried: Mahaler and Wrafil.
It was, and still is controversial. German writer Oliver Helms begins the biography of 2004, “”Musa is a wicked(It was originally published as “with” IM Wahn “or” Wacky Widow “), with samples of creation that were thrown on it:” female melt “(Richard Strauss),” Thiped “(Theodor W. The size “which” drank like a drainage tube “(Claire Gul),” The worst human being I knew at all “(Gina Kos). Maahler-Werfel was described as an increasing hostile that enslaved Jewish men and led them to early graves. “A disgusting, disgusting creature.” .
In recent years, Mahler-Werfel has received more sympathetic attention. The late British writer Kate Hast, in her 2019 CV, “,”, “Emotional spirit“He tries to dispel the image of” devouring Minad “, whose title is implicitly challenging Helms. The recording confirms the adversity that Machar and Wrville suffered as a wife and a mother; she had four children, only one of them lived at the age of eighteen. Suzan Rod Braiman”Mahahr and Wraville“Published in German in 2014, focusing on the authorship of McLer Wrville, her artistic passion, and her dynamic friendships with dozens of major artists. In the world of music, amid the continuous efforts to honor composers, McLer and Werville’s songs have become in the foreground. Gustavo Dudamel and La Philharmonic will perform five In addition to the Fifth Simphonia of Macrir next month.
Rehabilitation can only be rehabilitated so far. Mahalr and Wraville reduces purely as a victim that reduces the strength she exercises, especially in her relations with the Jews. At different points in her life, she was persecuted and persecuted. We are facing a crazy complexity – no less complicated than any of the men in August around her. At the age of eighteen, she wrote about her desire to accomplish the “great verb”, in the form of “really” good Opera, who hasn’t done any woman yet. “Although this goal has moved away from it, I found another kind of greatness, through supervision, from the castle of her taste, which is a cultural empire. Her friend, Friedrich Turburg, wrote,” an incredible stimulus. ” Patha Zukirkandel, McLer and Wrafel talked about the need to deal with a genius mood like Mahaler.
Mahaler Wrville leaves are located in the Van Plate Library, at the University of Pennsylvania. Browsing is similar to the attendance of a red carpet ceremony for the great stars in the early twentieth century. Outside couples and lovers, you find messages from various characters such as Thomas Man, Esli Kandinsky, Louise Rainer, and Thornton Wilder. Benjamin Bretin McLer and Wrafil asks to accept the dedication of his song “Nocturne”; Erich Wolfgang Korngold does the same for the violin syrupo. Igor Stravinsky sends what a hand -made Christmas card. Lot Linia tells her to write notes. Marilyn Ditrich provides the reading of the Franz Wires Astronomical Plan. Lionard Bernstein, in German, asks to see the tenth -shot symphony. One of the paper contains a list of guests for a dinner hosted in Los Angeles: Arnold Shinburg, Darius Miloud, Ernest Lubcch, Jean -Renoir.
At the core of the collection, the Maahler-Werfel Diary, which provides an indispensable record as much as there is no problem. The most detailed entries cover the years from 1898 to 1902, when they were at the age of Vienna. The pages of magazines, which were published in the German language and briefly in English, are seen by typical elements of young youth: festive, drawing faces, and postcards for the vaccinations that were attached. (It was its first kiss with Gustav Klimt.) There are also signs of intellectual ambition. The first folder is distinguished with the reformulation of the KANT category: “It is always as if your maximum will may become the principle of global law.” Several pages are offered to excerpts from Nietzsche “On the science of genealogy from morals“Wagner shows raises the responses of euphoria. The prominent musicians are rapid Master To think and girls no? “
Mahaler Wraville has the description of the luxurious circles in which her family moves, but she maintains a certain distance. Her father, who was worshiped, died when she was twelve years old; Her mother continued to marry the painter Karl Mall, who had already had an affair. The young pain took a sarcastic look at her mother’s shows of sadness and developed a lifetime for the funerals. It was not a particular or special warm family, as its subsequent history is witnessing. In his nineties, she embraced the Nazi Mall. His daughter, Maria, was the illicit sister of Alma, married to a judge who became a Nazi official. The three were killed in 1945, when the Red Army approached Vienna. The institutional nature of Margaret, another sister, was given at an early age and died in a German psychological facility in 1942. The Margaret case researcher told me that she should be considered a victim of the Nazi Merciful killing program.
Machar and Wraville resorted to music. Premium pianist, she can address difficult degrees, including the entire opera Wagner. After decades, it was while playing the “Clavier well” from Bach, although it would stop when she is aware of another person. In the composition, her main teacher Alexander Zimelinski, one of the best musical minds in Vienna. Zemlinsky, who also directed the Schoenberg, was distinguished by a real promise in Maahler-Werfel but invented it because of the distraction of her attention by the social cycle. Unfortunately, he created himself with great distraction by falling in love with her.
Maahler-Werfel consists of dozens of pieces in various forms. Only seventeen songs are known. They are designed creatively, and they show a special invention in their consensual writings. “Die Stille Stadt”, or “Quiet town”, which is an environment for a poem by Richard Dehmil, begins with a mysterious set of ropes of the type that you often find in Zemlinsky or Schoenberg: A-MAJOR TIAD; Treistan’s tendon from Wagner, which is seventh half. And the seventh dominant D-Flat. In the next measure, we play in D Minor, but the mystery still exists. Before the middle of the second measure, Maahler-Werfel was passing through all the twelve tones of the color scale. A particularly wonderful touch is the way the initial audio ratios are repeated by the piano, but with the height of the B-Flat to B-natural. In the third tape, harmony deviates to B Major, which adds to an unconfirmed atmosphere, and it displays the image of Dehmel of the city wrapped in a night fog.
Do these songs refer to a major composer in making? Critics make fun of Machar and Wrafel from the idea. McLer’s Biography writer Jeans Maltie Fischer complains that “a horrific feminine doctrine” will only put its music at the level of the Mahler. But no one claims that. Instead, the mahler-Werfel condition knows how opportunities, the environment, and other emergencies are technical functions. Rode-Breymann draws a useful comparison with Alban Berg, which looks like an unsuccessful early work, Mahler-Werfel’s. Berge Youth songs offer little hints from “Wozzeck”, “Lulu” and The Violin Concepto. But he had the opportunity to develop, with Schwenberg as his evidence. Zemlinsky thought about sending Maahler-Werfel to study with Schoenberg, which he might have collided with during the formation of Berg. When Shinberg studied her songs later, he wrote to her, “You have already a great deal of talent.”
The issue of McLer Wrafel’s musician’s future was raised in the appearance of Mahalir, who met him in Vienna in 1901, at a party at Bathha Zukirkandel. Mahaler was a child driven in the Austrian provinces, and he was directing the Vienna court for four years and was surrounded by a somewhat mixed fan. In contrast, McLer and Wrafel chose a battle with him immediately by defending the Zemlinsky ballet, which he considered incomprehensible. When, in another gathering, she was asked about her opinion on the music of Mahalir, she said: “I know only a few of them, but what I know does not attract me.” Machar’s friends were abandoned, but the man himself laughed. He seemed ready to share his life with a woman of hot-intelligence that was her artistic tastes, as Breymann indicates, in many ways more advanced than her future husband. He had an old association from Goyeth and Shiller. She was aware of Ibsen, Zola, Wilde, and the sparkling artists in the separation, whose husband was one.
The relationship quickly moved towards participation. In her memoirs, Machar Werfille expressed love for halir, but she wondered whether he would support her creative ambition, as Zemlinsky did. She received her answer in a letter written on December 19, 1901-a twenty-page circuit that caused her to be an unofficial comment about returning to writing music. Mahalir received an ultimatum: You must stop composing or that marriage is suspended. The main problem, as Mahaler sees it, is a practical problem: if his wife finds herself in a mood to form it, she will not be able to attend his needs. He writes, “From now on, you have only one profession: _ To make me happy! _ _” Moreover, Maheller makes fun of the idea that a young woman can claim that she has a creative identity: “What do you imagine individualism that consists of it? Do you consider yourself as an individual?” Long after the point was clarified, Randers McLer Ali: