Hans Effenberger

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Hans Effenberger , pseudonyms Jan Śliwiński or Jan Śliviński or Jean Śliwiński or Jan Śliwińsky or Jan Ślivińsky (born May 5, 1884 in Vienna , Austria-Hungary ; † July 31, 1950 in Warsaw ) was an author, composer, singer , Translator, who is also of art historical importance because of his Parisian gallery “Au Sacre du Printemps”.


Jan Śliwiński was the illegitimate son of the landscape painter and lithographer Robert Śliwiński and was adopted by the Effenberger couple. He graduated from high school in Prague, where he then studied German , English and Romance studies and did his doctorate on Nikolaus Lenau : "Lenau and music with special consideration of the Austrian musical conditions of the 30s and 40s". In Prague he also met and married the Irish governess of Thomas Masaryk's children , Gladys Miller, with whom he had two sons (Gladys Effenberger died during the First World War , which Śliwiński only found out years later). Between 1909 and 1912 Śliwiński was first a volunteer , then an assistant and finally a scriptor in the “ Austrian National Library ”, which has led to the legend that he would have been “head of the music collection” or even “formerly director of the Imperial Library in Vienna”. The pianist Arthur Rubinstein, friend of Effenberger, reports on this very time in his autobiography, which is why Effenberger also writes in Harvey Sachs “Arthur Rubinstein. The biography "is described:" ... the romantic Dr. Effenberger [...], who used to have a beard like Christ, but now - since he was thrown out of the Imperial Library because he seduced someone's wife - is shaved and deadly sad. [Hans Effenberger, alias Sliwinski, was a music critic and a friend of Rubinstein, Szymanowski, and Fitelberg. When Rubinstein got to know him, he tried to stay afloat by secretly compiling an international catalog of pornographic literature.]. "

In 1913 he visited England with his wife and two sons, where he stayed in Tingewick (near Buckingham (Buckinghamshire) ) and later in London . After the outbreak of World War I, he volunteered for the Polish Legions of Józef Piłsudski on August 26, 1914 , learned Polish and used the Polish name Śliwiński or Śliwiński-Effenberger. In Switzerland he organized a propaganda exhibition “Polish Legions” in 1916, which opened in Zurich on June 22, 1916 and was then shown in Bern and Basel .

He composed pieces of music and songs from his own texts and translated poems by Rabindranath Tagore , some of which were set to music by Alexander Zemlinsky and in 1918 by Karol Szymanowski (who incidentally also set seven poems by James Joyce in 1926).

Śliwiński was friends with Adolf Loos , whom he helped to have his exhibition in the Salon d'Automne in 1923 and whom he introduced to Tristan Tzara , whose Parisian house Loos designed and built in 1925/26. In his autobiography “Born to Hear”, Hans Heinz Stuckenschmidt reports that in 1925 he himself sold contemporary sheet music in Śliwiński's gallery “Au sacre du printemps”, which was also a music shop, and that on the occasion of the official opening of the Austrian pavilion at the Exposition Internationale des Arts Décoratifs et industriels moderne together with Śliwiński played the finale of Gustav Mahler'sThird Symphony ” with four hands on the organ, the arrangement of which came from them themselves.

Śliwiński, who was an accomplished organist and pianist, repeatedly accompanied Karl Kraus at his Parisian piano lectures. In addition, he introduced both Brassaï and Oskar Kokoschka to James Joyce , who lived in Paris . At the urgent request of James Joyce, he and the composer Geoffrey Molyneux Palmer were to publish his settings of James Joyce's poems "Chamber Music" in 1928, but to Joyce's chagrin, Palmer's settings best of all "Chamber" Music ”scoring, has fled. The estate of Joyce's publisher Sylvia Beach includes a photo postcard showing Śliwiński together with George Antheil , his wife Böske and Hermann von Wedderkop .

In 1930 he came to Warsaw . He taught German at the military academy, became adjutant to Marshal Józef Piłsudski , composed music and dealt with translations. After a break of several years, he began to write poetry in German again in 1937. In September 1939 he was called to the army with the rank of captain, through Romania and France he came to Great Britain , where he spent the Second World War in Scotland . He was an employee of the Polish Army Choir. On January 19, 1949 he became the musical director of the Institute of Polish Culture in London. In mid-July 1950, Śliwiński returned to Poland, where he met the Polish writer Jarosław Iwaszkiewicz . He visited the State Music Publishing House in Cracow, hoping for a job, but returned disappointed to Warsaw, where he suffered a cerebral hemorrhage in the apartment of the composer Andrzej Panufnik and died a little later in the Infant Jesus Hospital at the age of 66.

Gallery "Au sacre du printemps"

Śliwiński gained art historical importance through his gallery “Au sacre du printemps”, which opened in Paris around 1925 at 5, Rue du Cherche-Midi, whose name expresses his admiration for Stravinsky . The first solo exhibitions by Berenice Abbott , André Kertész and Kiki de Montparnasse took place in the gallery . In 1928 she also showed the second joint surrealism exhibition “Le Surréalisme, existe-t-il?” (“Does Surrealism Exist?”), With works by Max Ernst , Georges Malkine , André Masson , Joan Miró , Francis Picabia and Yves Tanguy could be seen.

The gallery's business portal, designed by Gabriel Guevrekian in 1923, is no longer preserved. In the spring of 1929 the gallery was taken over by Jeanne Bucher under her own name and opened with an exhibition showing works by Braque, de Chirico, Ernst, Gris, Klee, Laurens, Léger, Lipchitz, Lurçat between April 1 and May 1, 1929 , Marcoussis, Masson, Miro and Picasso showed.


  • Lenau and the music with special consideration of the Austrian music conditions of the 30s and 40s . Dissertation, German University Prague 1908.
  • Count Auguste de La Garde: Painting of the Congress of Vienna 1814–1815. Memories, celebrations, moral descriptions, anecdotes . Reissued from the French using Ludwig Eichler's translation and introduced by Hans Effenberger. 1912.
  • Richard Teschner's Indian theater . In: German Art and Decoration Volume 16, Issue 9, June 1913, pp. 217–222.
  • Legion Lieutenant Dr. Jan Sliwinski-Effenberger: War pictures exhibition of the Austro-Hungarian and Hungarian war press quarters. War pictures of the Polish Aid Corps . Basel, October 1916.


  • Śliwiński-Effenberger Jan (Hans):  Hans Effenberger. In: Austrian Biographical Lexicon 1815–1950 (ÖBL). Volume 12, Verlag der Österreichischen Akademie der Wissenschaften, Vienna 2001-2005, ISBN 3-7001-3580-7 , p. 358 f. (Direct links on p. 358 , p. 359 ).
  • Claire Loos: Jan Slivinski. In: Elsie Altmann-Loos, Lina Loos, Claire Loos: Adolf Loos - Der Mensch. Prachner 2002, p. 201 f.
  • Myra Teicher Russel: James Joyce's Chamber Music: The Lost Song Settings. Indiana Univ. Press, 1993, ISBN 0-253-34994-X .
  • Piotr Mitzner: Gabinet cieni (Shadow Cabinet), Fundacja Zeszytów Literackich publishing house, Warszawa 2007, ISBN 978-83-60046-80-7 .
  • Krzysztof A. Kuczynski: "He was a wonderful gypsy ...". About Jan Effenberger-Śliwiński. In: Theodor Csokor: amicus amicorum. Edited and introduced by Brygida Brandys. Lödz 1994, pp. 72-84.

Web links

Individual evidence

  1. House files of the archives of the Austrian National Library: Search for “Hans Effenberger” ( memento of the original from March 5, 2016 in the Internet Archive ) Info: The archive link was inserted automatically and has not yet been checked. Please check the original and archive link according to the instructions and then remove this notice. @1@ 2Template: Webachiv / IABot / aleph.onb.ac.at
  2. ^ Anthony van Hoboken's letter of March 21, 1928 to Heinrich Schenker .
  3. Oskar Kokoschka: My life . Foreword and documentary collaboration Remigius Netzer. Bruckmann Munich 1971, p. 199.
  4. Arthur Rubinstein: Memories. The early years . Fischer, Frankfurt 1976, pp. 450, 471f., 482 and 501.
  5. Harvey Sachs: Arthur Rubinstein. The biography . Kindler, Munich 1997. p. 207.
  6. Karl Kraus: Die Fackel No. 686-690, p. 37; No. 726-729, p. 75.
  7. In contradiction to Kokoschka's autobiography, Kokoschka's biographers consider it more likely that Kokoschka was wrong and that he was not introduced to Joyce by Śliwiński as early as 1924, but only at the end of 1930 by the painter Augustus John , who was then portraying Joyce.
  8. ^ Myra Russel: Chamber Music. Words by Joyce, Music by Molyneux Palmer . In: ICarbS Volume 5, 1, 1985, pp. 31-44, here p. 43.
  9. ^ Gabriel Guevrekian. In: Architects Lexicon Vienna 1770–1945. Published by the Architekturzentrum Wien . Vienna 2007.
  10. Galerie Jeanne Bucher ( Memento of the original from October 7, 2011 in the Internet Archive ) Info: The archive link was inserted automatically and has not yet been checked. Please check the original and archive link according to the instructions and then remove this notice. @1@ 2Template: Webachiv / IABot / www.jeanne-bucher.com