Kultur- und Kongresszentrum Liederhalle
The Kultur- und Kongresszentrum Liederhalle (KKL) - also known as the Liederhalle in Stuttgart usage - is a concert hall and conference center in Stuttgart . It is located in the Universität district of the Stuttgart-Mitte district , on Berliner Platz .
The Liederhalle is now one of the most important German cultural buildings of the post-war period . It combines elements of expressionism and organic architecture with the visual arts and is to a large extent since 1987 under monument protection . In addition, the Liederhalle is one of the leading concert halls in Germany. Large orchestras such as the Vienna Philharmonic , the Berlin Philharmonic , the Royal Symphonic Orchestra from London and the New York Philharmonics have played here since it opened in July 1956. Stars of jazz, rock and pop music also perform regularly in the Liederhalle. A particular highlight, for example, was the appearance by Jimi Hendrix on January 19, 1969.
With the opening of the Hegel-Saal area , the Liederhalle was expanded into a culture and congress center in 1991. Today you can find here u. a. Congresses, conferences, assemblies and trade fairs as well as receptions and dance events take place. The space in the Liederhalle includes five large halls ( Beethoven, Mozart, Silcher, Hegel and Schiller rooms ) and 14 conference and meeting rooms.
About 60% of the events are cultural or social events, the remaining 40% are represented by congresses, meetings or trade fairs. The central location, the good transport connections and the special architecture of the complex built by Rolf Gutbrod and Adolf Abel in 1956 attract around 600,000 visitors annually. With approx. 4,000 m² net exhibition space, the Liederhalle offers capacities for up to 6,000 visitors; 2.120 underground parking spaces are available to guests.
history
Old song hall
The original song hall was built in the years 1863–1864 on the initiative of the Stuttgarter Liederkranz, founded in 1824 as a society house. The inauguration of the individual building took place on December 11, 1864, ten years later it was expanded to include the Great Hall , which is famous for its acoustics . Most recently the Liederhalle comprised 14 halls.
The plans for the building went back to the architect Christian Friedrich von Leins , who previously alone in Stuttgart had the Villa Berg (summer residence of the Württemberg Crown Prince Karl and his wife), the Königsbau , which served as a courtly ballroom building, and later the Protestant Johanneskirche on / in the Feuersee ( Stuttgart-West district ). The large hall , measuring 1320 square meters , was designed as a “half-timbered solid house with galleries”. Up to 2500 people could be there. Another 20 years later, around 1894/1895, a large concert organ from the well-known organ builder Carl Gottlieb Weigle , which operates in Echterdingen , was installed in the hall. The son of the company's founder Friedrich Weigle took care of the construction of the 54-register building. After the turn of the decade, the entrance area was modernized in the Art Nouveau style. In 1907 the building was the venue for an international socialist congress . In the war years 1943–1944, the hall was so severely destroyed that only two halls were still functional afterwards. From 1946 onwards it was no longer used.
New song hall
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In the years 1955–1956, the Neue Liederhalle was rebuilt in the same location and subsequently developed into the center of cultural and social life in the city. The city of Stuttgart acquired the property in 1954. They wanted to retain the old purpose and hired the architects Adolf Abel and Rolf Gutbrod to build a new building. The Neue Liederhalle was inaugurated on July 29, 1956 . It houses the Beethoven , Mozart and Silcher halls .
In 1991, Wolfgang Henning expanded the facility with a congress annex, and the Hegel and Schiller rooms were also built. Since then, the ensemble as a whole has referred to the Liederhalle culture and convention center. The Hegel Hall , which seats almost 1,900 people, has a heptagonal floor plan and is roofed over by a daylight dome that can be darkened. It also offers two separate galleries and a hydraulically adjustable platform.
architecture
Topography and exterior
The Liederhalle culture and congress center is located on an elongated area between Breitscheidstrasse, Seidenstrasse, Schlossstrasse and Büchsenstrasse. Before the war, there were private houses and a swimming pool next to the concert hall. The properties were merged to form the "Berliner Platz" unit. The upper main entrance is in the west. The hall takes up more than half of the property, to the west there is a green area under which the Liederhalle / Bosch-Areal underground car park is located. The height difference between the two long sides of the building is eight meters. The upper main entrance is located on a spacious forecourt at medium height and has a cantilevered, asymmetrical roof. From here, you can see all three halls of the concert hall, which protrude from the flatter part of the building with the foyer, restaurant and side rooms. To the left is the rectangular Silcher Hall clad with split clinker brick with an aluminum sculpture by Hans Dieter Bohnet . On the right is the Mozart Hall, covered with a mosaic of various quartzite stones . The different colored quartzite slabs were used without polished edges, resulting in joints of different widths that were filled with marble and ceramic slabs. The composition comes from the Munich artist Blasius Spreng . In the middle is the round Beethoven Hall consisting of concave and convex lines . Its facade is made of exposed concrete with slightly recessed mosaic strips that are illuminated in the evening. The exposed concrete facade is inspired by Rudolf Steiner's Goetheanum . In addition, it is based on buildings by Le Corbusier and Hugo Häring and his theory of “organ-like building”: The materials should be used according to their nature, each element should develop according to its laws, fit into the order of the whole.
This 1950s architecture expresses a clear distancing from the monumentalism of National Socialist building. The buildings were “architectural commitments to dematerialization as a symbol against the leaden weight of the totalitarian times that still weighed on the brain,” says Winfried Nerdinger. The distinction between a main facade and subordinate sides and rear facades has been eliminated.
Interior
The two levels in the Beethoven foyer interlock as if by accident: the upper level opens up as a wide, circumferential and curved gallery to the lower. Both levels are connected to each other via three freely arranged stairs. On the upper level there are entrances to the tiers of the Beethoven Hall and the foyers of the Mozart and Silcher Hall . The parquet of the Beethoven Hall is accessed from the lower level. The striking floor in different colored terrazzo is decorated with a pattern of intersecting lines.
The surfaces and shapes used on the outer facade are continued inside the halls. The rectangular pattern of the concrete facade of the Beethoven Hall is reflected in a stucco structure, the Mozart Hall is also made recognizable inside by a quartzite panel cladding. The structure of the Silcher Hall can be recognized by its reddish-brown color.
The foyer of the Mozart Hall, separated by a few steps, is special . It is furnished with a floor mosaic by Blasius Spreng, and a corrugated ceiling spans the cloakroom, which takes up elements of Hans Poelzig's buildings . A light well covered with cut glass plates underlines the architecture.
Main halls
Adolf Abel claimed the principle of counterpoint for the building: "A unified composition of independent structures in which contrasting materials and shapes, such as the curves of the Beethoven Hall meet cubic elements of the balconies."
The Beethoven Hall : A sweeping gallery rises from the parquet on one side. The entire space is a three-dimensional sculpture that is reminiscent of a grand piano. Here an asymmetrically designed concert hall was realized for the first time. A convex concrete wall is plastically structured, traversed with gold lines and provided with abstract compositions by wooden panels, as is the concrete parapet of the gallery . The rest of the room is lined with teak . The ceiling lighting follows the floor plan in large, wide curves. The stage is integrated into the whole. The organ, to the right of the stage, can be locked behind rotating panels. A fountain can be exposed in the middle of the parquet. The concrete wall distributes the sound in the hall, the surfaces were treated differently due to the acoustic effectiveness.
The Mozart Hall : It follows an asymmetrical design based on an irregular pentagon. The stage is in front of one of these five corners of the room and is bordered by sound reflectors from behind. In the hall there are rising rows of seats on terraces of different shapes, with acoustically effective rear walls, a prism-shaped cladding made of sloping surfaces, the walls made of oak. The ceiling is paneled with ash. The entire arrangement is concentrated on the stage. The listeners are grouped into groups that are slightly facing each other.
The Silcher-Saal : It is designed more soberly, has a rectangular floor plan. What is special is the glazing made of glass blocks, which is the only hall that provides daylight. The wooden wall placed on the other long side - opposite the glass block wall - narrows the acoustic space towards the podium .
other rooms
At the beginning of the 1990s, the Liederhalle was expanded into the Liederhalle culture and congress center for economic reasons . In order to meet the demands that have changed since the 1950s and to be able to offer rooms for lectures and panel discussions, the Liederhalle was supplemented on the north side by a polygonal building with two halls: the Hegel Hall, which has almost 1,900 people, and the Schiller, which is designed for 400 people -Room . There are also 14 flexible meeting and conference rooms in this building. The ideas of the architect Gutbrod from 1978 were the inspiration. His former colleague Wolfgang Henning (1927–1994) implemented them.
The Hegel-Saal is suitable for congresses, meetings and trade fairs as well as for concerts and dance events. Since the spoken word requires different surface materials on walls and ceilings than the sounds of musical instruments for optimal reverberation times, the acousticians broke new ground in the construction: The hall has a floor plan in the form of an irregular heptagon. No wall runs parallel to the opposite one, the sound spreads diffusely - an advantage for the spoken word. The ceiling is constructed like a tent for the desired incidence of light, which would be a disadvantage for the listening experience of music. The solution: Glass sails divide the 30-meter-high hall into an upper and a lower volume, which meets all acoustic requirements.
Facades
A prominent feature of the architecture of the Liederhalle is the variety of facades made of different materials, shapes and colors. The designs of the facades go back to the Munich painter, sculptor, glass painter and mosaicist Blasius Spreng , who was also significantly involved in the planning of the building and the design of the interior.
Mozart Hall
The outer cladding of the Mozart Hall is the highlight under the façade of the Liederhalle. The composition of the facade mosaics stands out from the rather monochrome and regular facade design of the Beethoven Hall and the Silcher Hall due to the variety of shapes and colors.
The outer skin of the Mozart Hall consists of hand-worked, thin quartzite slabs in a variety of regular and irregular shapes and in a variety of colors between black, blue, green, brown and gray. The surfaces of the panels are rough and thus reinforce the natural stone effect of the material. The irregular edges also result in irregular joint widths between the panel pieces. The facades appear like giant abstract puzzles that are occasionally broken up by small mosaics made from conventional mosaic stones.
The tile pieces of the mosaic pictures fit together partly to form geometric shapes, partly to abstract puzzles. Continuous joint lines and narrow marble or quartzite strips structure the image field and give it a dynamic note. The facades close at the top with a sloping roof edge, in which the mosaic images continue.
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Mozart Hall, south facade
Mozart Hall, south facade (left) and part of the east facade
Beethoven Hall
The outer walls of the Beethoven Hall are made of unprocessed exposed concrete and are crowned by a surrounding, illuminated “diadem” with small abstract mosaics.
The facade of the dominant convex outer wall consists of 5 layers with a relief-like structure of rectangular fields of variable width. The unstructured concave outer wall is loosened up by narrow horizontal strips made of colored glass ceramic and a diagonal "swarm" of square and round buttons, also made of colored glass ceramic. The front door is crowned by an abstract mosaic picture. The straight outer wall of the stage building is perforated by over 200 small square windows, which are arranged in 2-3 rows on each floor.
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Silcher-Saal and Stuttgarter Liederkranz
The Silcher Hall and the Stuttgart Liederkranz building form a stylistic unit. The facades are clad with split clinker tiles, the color of which changes between light and dark red and brown tones. The upper main entrance, which connects to the right of the Silcher Hall, and the non-glazed parts of the restaurant facade are also clad with clinker tiles.
The different arrangement of the platelets results in different structural patterns. Most of the walls show layered structures, which are formed by strips of horizontally or vertically arranged plates. One half of the east side of the Liederkranz building is partially clad with diagonal, zigzag-like broken parallel sets of rod plates.
The long side of the Silcher Hall is illuminated on the hall level through a closed window front. It consists of 10 tall windows, each made of 10 × 30 glass blocks, separated by concrete supports. The basement is clad with clinker tiles.
Silcher Hall, west facade.
Silcher Hall, north facade.
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organ
The organ in the Beethovensaal was built in 1956 by Orgelbau Friedrich Weigle . It contains 6021 pipes. The planning comes from Helmut Bornefeld with the assistance of Anton Nowakowski .
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- Coupling : II / I, III / I, III / II, I / P, II / P, III / P
- Aids to play : shelves (one per drawer), crescendo roller, 4 free combinations, 2 pedal combinations, 10 group pulls for various pleno levels
- Wind chest : sliding chest
- Action : electric game and stop action
- Movable gaming table
architectural art
In 1950 the City Council of Stuttgart decided that the cost estimates for urban buildings should include between 1% and 2% of the pure construction costs for artistic decoration. For the new construction of the Liederhalle in 1955/1956, numerous contracts were awarded to artists for the artistic furnishing of the Liederhalle.
This section deals with the 12 works of art that are attached to the façades of the Liederhalle or that have been set up outside. 8 of the 12 works of art were created during the new song hall. The Franz Schubert memorial dates from 1878, and 3 other works of art were created recently between 1979 and 2003.
The works of art are described below in the order of the numbering in the adjacent map.
Note: The works of art inside the Liederhalle are not included in this section.
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Map with all coordinates: 
1. Peter Otto Heim: Philipp-Matthäus-Hahn-Monument
Location: Berliner Platz, on the corner of Seidenstrasse and Schloßstrasse 
The Philipp-Matthäus-Hahn monument is on Berliner Platz, on the corner of Seidenstrasse and Schloßstrasse. It is reminiscent of the Swabian mechanic pastor Philipp Matthäus Hahn , who became famous for the invention of calculating machines, scales and astronomical clocks. The memorial is the work of the sculptor Peter Otto Heim (1896–1966) and was erected in 1956 after the completion of the Neue Liederhalle.
The monument consists of a base made of travertine and a bronze celestial globe. The substructure consists of a wide, flat base and a cuboid with the following inscriptions and representations on the four sides:
- In front (on the Silk Road): “Philipp Matthäus Hahn” lettering and relief from Hahn's profile bust.
- Right: Inscription with dates of birth and death of Philipp Matthäus Hahn and his places of work in Swabia: “Philipp Matthäus Hahn, born 25 Nov 1739 | in Scharnhausen | Onstmettingen 1764 • 69, Kornwestheim 1770 • 80, Echterdingen 1781 • 90, died May 2, 1790 | in real things ”.
- Left: First stanza of the poem " The Honor of God from Nature " by Christian Fürchtegott Gellert :
- The heavens boast of eternal honor,
- Its sound carries on its name.
- The world praises him, the seas praise him,
- Hear, O man, you divine Word.
- Back: Incised drawing of an hourglass and parts of a mechanical clock (escape wheel, pendulum).
The bronze celestial sphere covered in green patina is connected to the cuboid by its central axis and bears figural reliefs of the signs of the zodiac and constellations. The equatorial ring and the meridian ring (still present in the picture) were removed after being broken off several times by vandals.
2. Karl-Heinz Franke: Forest of stainless steel columns
Location: green area of the Liederhalle, to the right of the upper main entrance .
The "stainless steel column forest" is the work of the sculptor Karl-Heinz Franke , which was set up in 1979 in front of the west facade of the Mozart Hall. Scattered across a meadow are eleven 2–2.5 meter high, tree-like structures made of stainless steel, whose polished, glossy surfaces contrast sharply with the multicolored mosaic of the west facade of the Mozart Hall. Three steel pipes welded together form the trunk of the artificial trees. Attached to it are two-meter-high sheets of metal that are bent and folded into a closed hollow shape and give the artificial trees the appearance of stylized pillar trees.
Literature: # Küster 2006 , pp. 100-102.
3. Alfred Lörcher: "Musicians"
Location: Outside entrance of the mosaic foyer on Schloßstraße
At the outer entrance of the mosaic foyer on Schloßstraße there are three man-high panels with half-reliefs made of white Carrara marble. The triptych “Musicians” is the work of the Stuttgart sculptor Alfred Lörcher , which he created in 1957 after the completion of the Neue Liederhalle.
- Left relief: five naked male musicians, partly standing, partly seated: above frontal a cellist, below and above and next to each other three flutists and a saxophonist, all turned to the right.
- Middle relief: two standing men face-on, naked except for a loincloth, and between them a naked man turned to the right. The beginning of a staff hovers above them.
- Right relief: five naked male flute players, partly standing, partly seated: the top three face-on, the other two turned to the left.
Literature: #Brehler 2006 , pp. 137, 150, 202, 327 (footnote 82), # Grüterich 1976 , pp. 236-237, catalog number R41.
4. Blasius Spreng: bar mosaic
Location: to the right of the Liederhalle restaurant
Two wall installations are hidden in a niche to the right of the ground floor of the Liederhalle restaurant:
- the bar mosaic by Blasius Spreng
- and the cast iron relief perforated surface by Otto Herbert Hajek , see here .
In contrast to the façade mosaics of the Liederhalle, the bar mosaic is not designed to fill the entire area, but rather an independent, abstract mosaic image that is arranged as a wall mosaic on a rectangular, one and a half story high concrete field. The outer outline of the mosaic field resembles a tall parallelogram tilted slightly to the right, the left side of which protrudes like a knee in the middle.
The picture consists mainly of red-brown and some blue, glazed ceramic rods. In the two upper thirds, the sticks plow through the picture in vertical arrays of parallels and are delimited on the sides by pointed brackets from bundles of sticks. In the lower third, the rods are arranged in four horizontal sets of parallels, which rise and fall in a zigzag fashion through faults and look like a geological cross-section of the ground. Three window-like rectangles are embedded in the cross-section, revealing structures made of blue, gold and silver layers.
Literature: #Brehler 2006 , p. 146.
5. Otto Herbert Hajek: "Openwork surface"
Location: to the right of the Liederhalle restaurant "Die Note"
Two wall installations are hidden in a niche to the right of the garden terrace of the Liederhalle restaurant:
- the cast iron relief Openwork surface by Otto Herbert Hajek
- and a bar mosaic by Blasius Spreng , see here .
Next to the Liederhalle restaurant, at the artist's entrance to the Beethoven Hall, there is a wall relief, perforated surface , which Otto Herbert Hajek created in 1956, the year the Neue Liederhalle was completed. The 3 meter high and 1 meter wide relief made of rusting cast iron has a rough, seemingly unworked surface with hatching, dots and breaks. The rectangular shape of the object is "broken through" at the edges and inside by slots, indentations and oval holes. See also Hajek's free-standing sculpture Broken surface in space .
Literature: #Brehler 2006 , p. 148, not included in #Gomringer 2000 .
Otto Herbert Hajek
Openwork surface
Otto Herbert Hajek
Openwork surface in the room
6. Otto Herbert Hajek: "Openwork surface in space"
Location: In front of the east facade of the Beethoven Hall, on Büchsenstrasse
In front of the east facade of the Beethoven Hall, almost on Büchsenstrasse, there is a sculpture by the sculptor Otto Herbert Hajek , which he created in 1956, the year the Neue Liederhalle was completed. The rusting cast iron sculpture has a rough, seemingly unworked surface with deep longitudinal furrows. The roughly rectangular, head-high object with the work title Pierced Area in Space or Pierced Wall resembles a stylized tree or a clunky human figure with its legs firmly on the ground, its two arms in the air and “pierced by four oval holes " becomes. See also Hajek's wall relief openwork surface .
Literature: #Brehler 2006 , p. 148, # Küster 2006 , pp. 114–116, #Gomringer 2000 , p. 154 (plate 100), p. 257 (catalog number A16).
7. Gustav Adolph Kietz: Franz Schubert monument
Location: At the entrance to the Stuttgarter Liederkranz on the east facade of the Beethoven Hall
The Franz Schubert monument with a replica of Franz Schubert's marble bust is on the east side of the Beethoven Hall, at the entrance to the rooms of the “ Stuttgarter Liederkranz ”. Gustav Adolph Kietz created the original bust in 1878 for the Stuttgarter Liederkranz for its 175th anniversary. The bust rests on a high stone pedestal with the words "Franz Schubert".
After the bust was lost in World War II, the Stuttgarter Liederkranz donated a replica in 1999, which was placed at the current location.
8. Hans Dieter Bohnet: "Lyra"
Location: On the west facade of the Silcher Hall
The large-format wall sculpture Lyra is an eye-catcher to the left of the upper main entrance . It is the work of the sculptor Hans Dieter Bohnet and was created during the construction of the Neue Liederhalle in 1955/1956. The shield-like, 500 × 250 cm plastic made of cast aluminum is attached to the west facade of the Silcher Hall. It almost reaches the height of the facade and its dull silver color makes it stand out from the red-brown clinker tiles on the wall behind. The three parts of the sculpture represent stylized lyres of irregular shape and allude to the three concert halls of different sizes.
The anniversary fountain opposite the Philipp-Matthäus-Hahn monument, on the other corner of Schloßstraße and Seidenstraße, is also a work by Hans Dieter Bohnet. The fountain was installed in 1961 to mark the 60th anniversary of the Schönerungsverein Stuttgart .
Literature: # Küster 2006 , p. 76, #Brehler 2006 , p. 147, #Skrentny 2011 , p. 106.
9. Blasius Spreng: Three animal mosaics
Location: Green area of the Liederhalle, corner of Seidenstrasse and Breitscheidstrasse .
In the green area of the Liederhalle on the corner of Seidenstrasse and Breitscheidstrasse there are a few benches under the rose arbors. There are three inconspicuous, rectangular floor mosaics that Blasius Spreng created in 1956. The left mosaic picture shows snakes and fish, the mosaic on the top right shows a peacock between two tall trees and the narrow mosaic on the bottom right shows two leopards .
These three mosaic pictures and two others, which have now disappeared, were embedded in Blasius Sprengs' former large mosaic in front of the upper main entrance. Since the mosaic turned out to be a stumbling block, especially for high-heeled women's shoes, and also because of the winter frost damage, it was dismantled in 1968 and deposited in the building department's material store. In 1995 three of the picture mosaics were rediscovered there and sunk into the earth where they are today. Due to the unfavorable choice of location, the mosaics hardly attract attention and are exposed to the rigors of the weather and overgrowth by ground cover.
Literature: #Brehler 2006 , pp. 138–142, 152, 153.
10. Bernd Wilhelm Blank: "Kinetic Object"
Location: Robert-Bosch-Platz
The tower-like sculpture Kinetic Object rises from the middle of Robert-Bosch-Platz, surrounded by the Literaturhaus, the CinemaxX cinema, the Congress Center and the Liederhalle. On the red paved square, the object stands on a circle made of gray stone slabs, from which 16 rays of gray stone slabs also radiate out to all sides.
When the redesign of the Bosch site at the former location of the Robert Bosch headquarters was completed in 1999, the architect Roland Ostertag suggested that the space be designed to “remember the company founder and his work at this location”. This project was financed by a Robert Bosch GmbH foundation and implemented in 2003 by the Berlin sculptor Bernd Wilhelm Blank with his movable object.
The three-part, aluminum alloy tower is over 7 meters high and rests on four corner pillars above which two movable segments rise. A built-in wind measuring device continuously determines the current wind speed, and as soon as this reaches a certain level, the middle of the three tower segments is set in motion. The upper segment then begins to rotate in the opposite direction through mechanical power transmission. When the maximum position of the rotation is reached, the segments swing back to the starting position. The control technology for the movement of the tower is a development by Robert Bosch GmbH.
Since the object was repaired in 2016, the middle segment has been the same color as the other two, and the movement seems to be limited to minor oscillations.
Literature: # Küster 2006 , pp. 64-66.
11. Sabine Hoffmann: "Euroterra"
Location: Platz der Deutschen Einheit, at the Max-Kade-Haus
The double sculpture Euroterra (“European Earth”) rests on a lawn embankment at the Platz der Deutschen Einheit. The sculpture is the work of the Stuttgart sculptor Sabine Hoffmann (1926–2016). It was created in 1993 as a prototype for a European sculpture project.
The sculpture consists of two compact, stretched side by side, about 3 meter long box shapes made of Crailsheim shell limestone, which are composed of 2 or 3 individual blocks. The indentations in the upper sides show the imprints of two figures, who are supposed to represent a man and a woman and stretch an arm towards each other.
12. Fritz Nuss: "Egyptian Musicians"
Location: Upper main entrance of the Liederhalle
At the upper main entrance of the Liederhalle, four bronze relief panels covered with green patina are attached to the pillars between the doors. The Egyptian reliefs are the work of the sculptor Fritz Nuss and were installed after the completion of the Neue Liederhalle in 1956.
The reliefs show singers with sheet music and flute player, standing or sitting on wide, low stools. They wear simple, knee-length robes and are barefoot. There is a lyre on some of the wall brackets and a devil's mask on one of them. The flute players and singers on the two outer plates turn to each other. On the third relief from the left one can vaguely see a vertical bar with hieroglyphics.
Literature: #Brehler 2006 , p. 151.
technology
The culture and congress center has extensive technology: from hydraulically adjustable hall podiums, a sound network, a refrigeration center with 3.3 megawatts of cooling capacity to flexible seating options in all halls.
The technical equipment of the song hall includes interpreter booths, large screen projectors, audio and video direction, satellite transmission.
facts and figures
- Location: Stuttgart-Mitte, Berliner Platz 1–3
- Location: Connection via an underground corridor to the Maritim-Hotel Stuttgart, directly in front of the Bosch area with the literature house, a cinema, bars, bistros, restaurants, a disco. The Bach Academy and the Stuttgart Ballet can be reached on foot. 15 km from the airport
- Public transport connections: U2, U4, U14, U29, U34, 43
- Architecture: embedded in the landscape, based on the topography; 5 large halls, 14 conference and meeting rooms
- Total capacity / conference area: 6000 seats
- Net exhibition space halls / foyers: 4000 m². Underground car park with 2,120 spaces.
Events and press
In the 1930s, Stuttgart had adapted the glamor of other large cities with its Liederhalle. The Berlin vocal ensemble , the Comedian Harmonists , the Chilean actress and singer Rosita Serrano (nickname: the “Chilean nightingale”), as well as the Austrian revue dancer, actress and singer La Jana performed . Musical performances ranged from the popular accordionist Will Glahé, who had advanced to become “Polka King”, to the violinist and conductor Barnabás von Géczy , to the “Stuttgart bass voice” of local hero Wilhelm Strienz , but also the Italian opera tenor Beniamino Gigli sang here.
But even after the war there was no lack of praise. The Los Angeles Times wrote about the new building:
"An avant-garde auditorium that honors a cosmopolitan city."
The Stuttgart conductor Karl Münchinger said at the time:
"No concert hall on the continent has such acoustics."
literature
Liederhalle
- Kultur- und Kongresszentrum Liederhalle; Information brochure All facts at a glance.
- Sian Brehler: The Neue Liederhalle Stuttgart: data and facts on the building history. Dissertation 2006. Karlsruhe 2006. Digitized
- Margot Dongus: Fifty Years of the Liederhalle: episodes, music, architecture. Südwestdeutsche Konzertdirektion Russ, [Stuttgart] 2006.
- Hartmut Ellrich: The historic Stuttgart. Michael Imhof Verlag, Petersberg 2009, ISBN 978-3-86568-381-6 , pp. 97-99.
- Eberhard Grunsky: On the monument significance of the Stuttgart Liederhalle. In: Preservation of Monuments in Baden-Württemberg , Volume 16, 1987, Issue 2, pp. 91–111, pdf .
- Christian Holl: The New Architecture Guide No. 108, “Liederhalle Stuttgart”. Stadtwandel Verlag, Berlin 2007.
- Hermann Lenz ; Günter Beysiegel (Hrsg.): Stuttgart: from 12 years of life in Stuttgart. Belser, Stuttgart 1983, pp. 480-483.
- Werner Skrentny (Ed.): Stuttgart on foot. Silberburg-Verlag, Tübingen 2008, ISBN 978-3-87407-813-9 , pp. 36, 102, 106, 117.
architectural art
- Eugen Gomringer (text); Anuschka Koos (catalog raisonné): OH Hajek. A world of signs. Bonn 2000.
- Marlis Grüterich: Alfred Lörcher. Sculpture, relief, drawings; with catalog raisonnés. Stuttgart 1976.
- Bärbel Küster (editor); Wolfram Janzer (photos): Sculptures of the 20th century in Stuttgart. Heidelberg 2006.
Web links
- Homepage of the Kultur- und Kongresszentrum Liederhalle
- Sian Brehler: Neue Liederhalle , published on April 19, 2018 in: Stadtarchiv Stuttgart: Stadtlexikon Stuttgart
Individual evidence
- ↑ Holl, Christian., Gonzalez, Brigida .: Liederhalle Stuttgart . 1st edition Stadtwandel-Verl, Berlin 2007, ISBN 978-3-86711-019-8 .
- ↑ Jimi Hendrix in Stuttgart - January 1969
- ↑ Space in the “Kultur- und Kongresszentrum Liederhalle Stuttgart”. Retrieved August 27, 2019 .
- ↑ a b Own internal statistical survey of the Kultur- und Kongresszentrum Liederhalle.
- ↑ "Kultur- und Kongresszentrum Liederhalle Stuttgart" by car. Retrieved August 27, 2019 .
- ↑ Resolution proposal : 50 years of the Stuttgart Liederhalle concert hall PDF file
- ↑ Holl, Christian., Gonzalez, Brigida .: Liederhalle Stuttgart . 1st edition Stadtwandel-Verl, Berlin 2007, ISBN 978-3-86711-019-8 .
- ↑ Holl, Christian., Gonzalez, Brigida .: Liederhalle Stuttgart . 1st edition Stadtwandel-Verl, Berlin 2007, ISBN 978-3-86711-019-8 .
- ↑ A draft sketch by Wolfgang Henning "Extension of the Liederhalle Stuttgart" from 1981 is in the Städtische Galerie Neunkirchen , shown in: Donation Wolfgang Kermer: inventory catalog. Edited by the Städtische Galerie Neunkirchen, Neunkirchen 2011, ISBN 978-3-941715-07-3 , p. 72.
- ↑ #Brehler 2006 , pp. 112-113, 137, #Grunsky 1987 , p. 95.
- ↑ #Brehler 2006 , pp. 103, 144, 146, #Grunsky 1987 , pp. 94-95.
- ↑ #Brehler 2006 , p 119, #Grunsky 1987 , p 95th
- ^ Orgelbau Friedrich Weigle (ed.): The organ in the great hall of the Neue Liederhalle Stuttgart .
- ↑ Sabine Hoffmann: EURO TERRA . State capital Stuttgart. Retrieved July 8, 2019.
Coordinates: 48 ° 46 '45 " N , 9 ° 10' 10.2" E