Viktor Ullmann

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Viktor Ullmann

Viktor Ullmann (also: Victor Ullmann ; born January 1, 1898 in Teschen ( Cieszyn ), Austria-Hungary ; died October 18, 1944 in Auschwitz-Birkenau ) was an Austrian composer , conductor and pianist .

Life

Youth and Studies

Viktor Ullmann's parents both came from Jewish families; however, they had converted to Catholicism before Viktor was born . As an assimilated Jew, his father Maximilian Ullmann was able to embark on the career of a professional officer. In the First World War he was promoted to colonel and raised to the nobility.

From 1909 Viktor attended a grammar school in Vienna . His musical inclinations and talents gave him early access to Arnold Schönberg and his group of students. Immediately after graduating from school, he volunteered for military service. After his assignment at the Isonzo Front , he was granted study leave, which he used to start studying law at the University of Vienna and also attended lectures by Wilhelm Jerusalem . At the beginning of October 1918 he was accepted into Schönberg's composition seminar. He studied form theory, counterpoint and orchestration with Schönberg himself . Ullmann was an excellent pianist, even if he had no ambitions for a solo career.

Freelance musician

In May 1919 he broke off both studies and left Vienna in order to devote himself entirely to music in Prague . His mentor was now Alexander von Zemlinsky , under whose direction he was Kapellmeister at the New German Theater in Prague until 1927 . In 1923 the 7 songs with piano began a series of successful world premieres of his compositions, which lasted until the early 1930s (“Seven Serenades”). At the Geneva Music Festival of the International Society for New Music (IGNM) (1929), the Schönberg Variations , a piano cycle based on a theme by his Viennese teacher, caused a sensation. Five years later he was awarded the Emil Hertzka Prize , named after the former director of Universal Edition , for the orchestral version of this work .

From 1929 to 1931 Ullmann was Kapellmeister and incidental music composer at the Schauspielhaus Zurich . Interested in the anthroposophy founded by Rudolf Steiner , he ran an anthroposophical bookstore in Stuttgart for another two years (1931–1933), before moving to Prague again from mid-1933, where he worked as a music teacher and journalist. From 1935 to 1937 he took composition lessons from Alois Hába , whose quarter-tone technique he only used in a single composition (the clarinet sonata op. 16, 1937) (only the autograph of the clarinet part is preserved). In the works of the 1920s he was still clearly based on Schönberg's free-atonal works (in particular the Chamber Symphony, Op. 9, the George Songs, Op. 15 and Pierrot Lunaire, Op. 21). The compositions created from the mid-1930s are characterized by the independent further development of the suggestions received from Schönberg (2nd string quartet, 1st piano sonata) and by dealing with the opera Wozzeck by Alban Berg (opera Der Sturz des Antichrist ). A new kind of harmony between tonality and atonality (Ullmann himself spoke of "polytonality"), high-tension musical expression and masterful mastery of formal design are among the characteristics of Ullmann's new, now unmistakable personal style.

Viktor Ullmann was a Freemason in Prague. He is listed on the list of members of the Grand Lodge Lessing to the three rings and from 1934 published several times as "Brother Viktor Ullmann" in the Reichenberg Freemason magazine The Three Rings.

Theresienstadt concentration camp, murder in the Auschwitz-Birkenau extermination camp

In 1942 Ullmann was deported to the Theresienstadt concentration camp , where he - still believing in the positive in people - was concerned about a rich musical life despite hunger and major problems coping with the life of the Theresienstadt camp and created a considerable part of his works. He wrote: "I only need to emphasize that I was encouraged and not inhibited by Theresienstadt in my musical work, that we were by no means just sitting complaining by the rivers of Babylon and that our cultural will was in line with our will to live."

On October 16, 1944, Ullmann was deported to Auschwitz-Birkenau together with Pavel Haas and Hans Krása and murdered by gassing shortly after his arrival .

Working as a composer

By the time he was deported, his list of works reached opus number 41 and contained a. a. another three piano sonatas , song cycles based on various poets, operas and the piano concerto op. 25, which he wrote in December 1939, d. H. Completed 9 months after German troops entered Prague. The greater part of these works is lost; the manuscripts were probably lost during the occupation.

Fifteen prints of his compositions, created between 1936 and 1942, which Ullmann had self-published and entrusted to a friend for safekeeping, have been preserved. Ullmann remained musically active in the Theresienstadt ghetto: He worked as a piano accompanist, organized concerts (“Collegium musicum”, “Studio for New Music”), wrote reviews of musical events and composed. His Theresienstadt estate was almost completely preserved and includes - in addition to choral compositions, song cycles and stage music - such weighty works as the last three piano sonatas, the 3rd  string quartet , the melodrama based on Rilke's "Cornet" poem and the chamber opera Der Kaiser von Atlantis .

The world premiere of the opera Der Sturz des Antichrist (Text: Albert Steffen, 1935) should actually have taken place in Vienna. At that time, Ullmann had received the Emil Hertzka Prize for the second time for his almost two-hour opera. Negotiations with the Vienna State Opera Director Felix Weingartner were in progress. But that never happened: the world premiere only took place 60 years later in Bielefeld .

“The Emperor of Atlantis” had its world premiere in 1975 as an edited version in Amsterdam . The first performance, which stuck to the original script as closely as possible, took place in 1989 at the Neukölln Opera in Berlin. Since 1993 it has been possible to play the original version of the opera, which was created by the musicologist Ingo Schultz with the help of Karel Berman and his Theresienstadt role book, which forms the basis of Herbert Gantschacher's production for ARBOS - Society for Music and Theater . STUDIO MATOUŠ from Prague made a studio recording of this production in 1994, which was released in 1995, from Ullmann's original title “The Emperor of Atlantis or The Denial of Death”. ARBOS - Society for Music and Theater - made a live recording of the Theresienstadt first performance of the opera on May 23, 1995. A year before that, a CD was released by Decca with the Gewandhausorchester Leipzig under the direction of Lothar Zagrosek , but instead of using the original score, a version for large orchestra was recorded.

The 2nd Symphony in D major was performed on October 9, 1994 in Zurich. However, it has not been handed down as a fully developed symphony. Rather, it was available as the 7th Piano Sonata, but Ullmann provided it with so many precise instrumentation information that the composition gives the impression of a particelle . In Bernhard Wulff's orchestral facility , the work was premiered as the 2nd symphony as part of the Baden-Württemberg music academy days “The Victims of Violence” in Stuttgart in 1989 under Gerd Albrecht's direction and recorded on CD. As a testimony to Ullmann's strength to survive, the work had a strong impact.

In the “Kaiser” and “Cornet” in particular, he once again dealt with the basic questions of his artistic worldview, but now in view of the living conditions in a National Socialist concentration camp : with the aesthetic problem of transforming a found material into an artistic form; and with the ethical problem of the mind's constant conflict with matter. In terms of content, he developed the most concrete form of this discourse in the "Kaiser" opera with the parable of the emperor's game with death for life. The "game", which is about nothing less than the annihilation of all human life planned by the emperor and preventing this project through death, ends with the emperor's downfall and with the vision of a new understanding of life and death. With the musical design of this supposedly time-bound material, Viktor Ullmann has designed a timeless model of how the inhumanity of every tyrannical regime can be overcome through the positive forces of man.

Timetable

  • 1898: born on January 1st in Teschen (Austrian Silesia).
  • 1909–1916: Attended school in Vienna.
  • 1916–1918: voluntary military service; Front insert; Promotion to lieutenant
  • 1918: Student at the University of Vienna (law), lectures with Wilhelm Jerusalem in sociology and philosophy and in Arnold Schönberg's "Seminar for Composition"
  • 1920: In autumn, choir director and répétiteur under Alexander von Zemlinsky at the New German Theater in Prague; later (1922–1927) Kapellmeister
  • 1925: Composition of the "Schönberg Variations" for piano (first performance 1926 in Prague)
  • 1927–1928: Opera director in Aussig on the Elbe (Ústí n. L.); then back to Prague without engagement
  • 1929: Success of the "Schönberg Variations" at the music festival of the International Society for New Music (IGNM) in Geneva
  • 1929–1931: Composer and conductor for incidental music at the Zurich Schauspielhaus
  • 1931–1933: bookseller in Stuttgart (owner of the anthroposophical Novalis bookstore)
  • 1933: escape from Stuttgart; Return to Prague
  • 1934: Hertzka Prize for the orchestral version of the Schönberg Variations (op.3b)
  • 1935–1937: Composition lessons with Alois Hába
  • 1936: Hertzka Prize for the opera The Fall of the Antichrist (op. 9)
  • 1938: After the performance of the 2nd string quartet at the IGNM Festival in London, Ullmann spends about two months at the Goetheanum in Dornach near Basel.
  • 1939: Beginning of the persecution of Jews in the "Protectorate of Bohemia and Moravia"
  • 1942: on September 8th deported to Theresienstadt; active in the so-called “leisure activities” as a composer, bandmaster, pianist, organizer, educator and music critic. Most important compositions preserved as manuscripts: 3 piano sonatas; Songs; Opera The Emperor of Atlantis ; Melodrama Die Weise von Liebe und Tod des Cornets Christoph Rilke
  • 1944: Transport to Auschwitz-Birkenau on October 16 , where he was murdered in a gas chamber on October 18 .

Directory of the Prague and Terezin Works

In mid-1942, probably shortly before his deportation to the Theresienstadt concentration camp, Ullmann compiled a comprehensive list of the works he had composed up to then. This list has been preserved in a London library as part of a letter, the recipient of which has not yet been identified. In contrast to the previously established work regulations, the "London" directory is characterized by a complete number of opus (1–41) and the unmistakable assignment of the known works or titles. Ullmann's catalog raisonné is of inestimable value with regard to the lost or lost compositions, as it makes one aware of the full extent of the loss caused by persecution and war.

For the following overview, Ullmann's opus counting has been adopted and expanded to include the opus numbers given in Theresienstadt. The titles are arranged essentially chronologically and take into account compositions known from earlier catalog raisonnés as well as compositions determined bibliographically. Uncertain dates were marked with (?). Information on an earlier count refers to the work regulations of the 1920s ( Riemann Musiklexikon 11/1929). References can only be found in the Schönberg Variations , which, with regard to the number of opus as well as the chronology, are inconsistent with the ordering principle used.

The Prague Works

plant year Earlier count Remarks
Three male choirs a cappella 1919 Opus 1
Songs with orchestra 1921 Opus 2
Abendlied (Claudius) for choir, solos and orchestra 1922 Opus 3
Music for a fairy tale game (Christmas game "How Little Else went looking for the Christ Child") 1922 First performance Prague 1922
Seven songs with piano 1923 Opus 4 World premiere Prague 1923, IGNM Music Festival Prague 1924 (supporting program)
Opus 1 - 1st string quartet 1923 Opus 5 First performance in Prague 1927
Seven songs with chamber orchestra 1924 Opus 6 First performance in Prague 1924
Symphonic Fantasy (also under the title: "Solo Cantata for Tenor and Orchestra") 1924 Opus 7 First performance in Prague 1925
Incidental music for "Der Kreidekreis" (Klabund) 1924 First performance in Prague 1925
(21) Variations and double fugue on a small piano piece by Schönberg (op.19, 4) 1925 Opus 9 First performance in Prague 1926
Opus 2 - Octet (also under the title: "Octettino") 1924 Opus 8 First performance in Prague 1926
Trio for woodwinds 1926 Opus 10
Opus 4 - Concerto for orchestra (also under the titles "1st Symphony" and "Symphonietta") 1928 Opus 11 First performance Prague 1929
(5) Variations and double fugue on a small piano piece by Arnold Schönberg (for piano) 1929 First performance in Prague 1929. The copy made by a Prague copyist has been preserved. Music festival of the IGNM Geneva 1929.
Opus 5 - Seven Little Serenades for Voice and 12 Instruments (Text: Ullmann) 1929 World premiere Frankfurt / M. 1931.
Opus 6 - Peer Gynt (Ibsen). Opera 1927-29 Completed after 1938.
Opus 3 a - (9) Variations and Double Fugue on a Theme by Arnold Schönberg for piano 1933/34 Self-published print: Prague 1939.
Opus 3 b - Variations, Fantasy and Double Fugue on a Small Piano Piece by Schönberg for Orchestra 1933/34 Hertzka Prize 1934. First performance in Prague 1938. A set of orchestral parts has been preserved in the copy made by two Prague copyists.
Opus 7 - 2nd string quartet 1935 First performance in Prague 1936. IGNM London Music Festival 1938.
Opus 8 - (Seven) elegies for soprano and orchestra 1935 First performance Prague 1936 (three pieces). Opus 8, 2 was preserved in the autograph: “It's difficult to leave the beautiful” (Steffen).
Opus 9 - The Fall of the Antichrist. Stage consecration festival in 3 acts (Steffen) 1935 Hertzka Prize 1936. The score and a piano reduction partly written by the composer have been preserved in the autograph.
Opus 10 - 1st piano sonata 1936 Self-published: Prague 1936. Premiere Prague 1936. IGNM New York Music Festival 1941.
Opus 11 - Chinese melodramas (also under the title "Gallows Songs") 1936 First performance Prague 1936 (4 pieces).
Opus 12 - Hutten's Last Days (CF Meyer), lyrical symphony for tenor, baritone and orchestra 1936/37 (?)
Opus 13 - Missa symphonica for choir, soloists, orchestra and organ ("in honor of the Archangel Michael") 1936
Opus 14 - Three choirs a cappella (also under the title "Rosicrucian Cantata") 1936
Opus 15 - Easter cantata (also under the title "Chamber Cantata") for mixed small choir and 6 instruments 1936
Opus 16 - Sonata for quarter-tone clarinet and quarter-tone piano 1936 First performance in Prague 1937. Only the autograph of the clarinet part has survived.
Opus 17 - Six songs (Steffen) for soprano and piano 1937 Self-published print: Prague 1937. First performance Prague 1937.
Opus 18 - songs (Kraus, Goethe, Novalis) (also under the title "song cycle II") 1937 (?)
Opus 19 - 2nd piano sonata 1938/39 Self-published printing: Prague 1939. First performance Prague 1940.
Opus 3 c - Variations and Double Fugue on a Theme by Arnold Schönberg 1939 Received as a photocopy of the autograph.
Opus 20 - Sacred songs for high voice and piano 1939/40 Self-published printing: Prague 1940. First performance Prague 1940.
Opus 21 - Songs (Brezina) 1929/39 (?)
Opus 22 - Children's Songs 1939/40 (?)
Opus 23 - The God and the Bajadere (Goethe) for baritone and piano 1940 (?) First performance in Prague 1940.
Opus 24 - Slavic Rhapsody for orchestra and obbligato saxophone 1939/40 Self-published printing: Prague 1940. (Printed as "Opus 23")
Opus 25 - Piano Concerto 1939 Preserved as an autograph; Self-published print: Prague 1940.
Opus 26 - Five love songs (Huch) for soprano and piano 1939 Self-published print: Prague 1939.
Opus 27 - Songs of the Prince Vogelfrei (Nietzsche) 1940
Opus 28 - 3rd Piano Sonata 1940 Self-published printing: Prague 1940. (Printed as "Opus 26")
Opus 29 - Three sonnets from Portuguese (Barett-Browning / Rilke) for soprano and piano 1940 Self-published printing: Prague 1940. First performance Prague 1940.
Opus 30 - Songbook of Hafez for bass and piano 1940 Self-published printing: Prague 1940. First performance Prague 1940 based on Hans Bethge's adaptations of the songs and chants of Hafez , Volume 2
Opus 31 - Gleanings (songs) 1940 (?)
Opus 32 - War. Cantata for baritone 1940 (?)
Opus 33 - The homecoming of Odysseus. Opera 1940/41 (?)
Opus 34 - Six Sonnets (Labé) for soprano and piano 1941 Self-published print: Prague 1941.
Opus 35 - Six songs for alto or baritone and piano 1941 (?)
Opus 36 - The Broken Jug (Kleist). Opera 1941/42 Self-published in 1942.
Opus 37 - Three songs (CF Meyer) for baritone and piano 1942 Preserved as an autograph (“Renewed in Theresienstadt”). First performance Theresienstadt 1943.
Opus 38 - 4th piano sonata 1941 Self-published print: Prague 1941.
Opus 39 - Sonata for Violin and Piano 1937 (?) Only the copy of the violin part remained. World premiere planned: Prague 1938.
Opus 40 - Concert aria (from Goethe's "Iphigenie") 1942 (?)
Opus 41 - Six Songs (HG Adler) 1942 (?)

The Theresienstadt works

plant year Earlier count Remarks
Three songs for baritone (CF Meyer) 1942 See Opus 37. Final dating: November 4, 1942.
3rd string quartet (in one movement) 1943 Received as a copy of the autograph. Counted as Opus 46. Final dating: 23 January 1943.
Herbst (G. Trakl) for soprano and string trio 1943 Preserved as an autograph. Final dating: January 24, 1943.
(2) Songs of Consolation (Steffen) for deep voice and string trio 1943 Preserved as an autograph.
Ten Yiddish and Hebrew choirs (female, male and mixed choir) 1943 Preserved as copies by Theresienstadt copyists.
Incidental music for a Francois Villon play 1943 First performance Theresienstadt July 20, 1943.
Wendla in the garden (Wedekind) for voice and piano 1943 Preserved as an autograph. Final dating: 1918–1943.
5th piano sonata 1943 Preserved as an autograph. Counted as Opus 45. Final dating: June 27, 1943.
(2) Hölderlin songs for voice and piano 1943/44 Preserved as an autograph.
Always in the middle (HG Adler). Cantata for mezzo-soprano and piano 1943 Two songs received as autographs. First performance Theresienstadt October 30, 1943.
6th piano sonata 1943 Preserved as an autograph. Counted as Opus 49. Cf. “Kaiser von Atlantis”. Final date: August 1, 1943. First performance in Theresienstadt before October 30, 1943.
Man and his day (HG Adler). 12 songs for voice and piano 1943 Preserved as an autograph. Counted as Opus 47. Final dating: September 4, 1943.
Chansons des enfants francaises [!] For voice and piano. 1943 One song ("Little Cakewalk") received as an autograph. Dedication date: September 27, 1943.
Three Chinese songs for voice and piano. 1943 Two songs received as autographs. Final dating: October 1943.
The Emperor of Atlantis or The Denial of Death . Game in one act (Libretto: Peter Kien ) 1943/44 Preserved as an autograph. Counted as Opus 49 (cf. 6th Piano Sonata) Composition begins: June / July 1943; Final dating: January 13, 1944. Revision ("Wahnsinns-Terzett"): August 1944.
Don Quixote. Overture for piano (short score) 1943 Preserved as an autograph. Final dating: March 21, 1944.
May 30, 1431. Libretto for an opera "Jeanne d'Arc" (2 acts) 1944 Preserved as an autograph. The preface is dated 16 May 1943.
Three Yiddish songs for voice and piano 1944 Preserved as an autograph. Counted as Opus 53, dating (1st song): May 25, 1944.
The way of love and death (Rilke). 12 pieces for speaker and orchestra or piano (short score) 1944 Preserved as an autograph. First performance before September 28, 1944. Final date: July 12, 1944.
7th piano sonata 1944 Preserved as an autograph. Date on the title page: August 22, 1944.
Evening fantasy (Hölderlin) for voice and piano 1944 Preserved as an autograph.
Cadenzas to Beethoven's piano concertos (No. 1 and 3) 1944 Preserved as an autograph. Counted as opus 54
Three Hebrew Boys Choirs (a cappella) 1944 Received as a copy from a Theresienstadt copyist.

Discography (selection)

  • TEREZIN: The Music 1941–44 (Romantic Robot 1991)
  • The Emperor of Atlantis (opera) + Hölderlin songs (1943/44); Execution: Kraus, Berry, Vermillion, Mazura, Lippert, Gewandhausorchester Leipzig, Dir: Zagrosek ; Decca 1994.
  • The Emperor of Atlantis (Studio Matous Prague / ARBOS - Society for Music and Theater ; first recording of the original version for chamber orchestra 1995)
  • The Fall of the Antichrist (Opera); Execution: Neuweiler, Decker, Gentile, choir and orchestra of the Bielefelder Philharmonie, Dir: Koch; CPO 1995.
  • The Broken Krug op. 36 (opera) + Slavic Rhapsody op. 23 for saxophone and orchestra; Executed by: Hermann, Barainsky, Prein, Dewald, Morloc, Kelly, Deutsches Symphonie-Orchester Berlin, Dir: Albrecht ; Orfeo (Musica rediviva) 1998.
  • Symphony No. 2 + piano concerto op. 25 , variations op. 5 ; Exec .: Richter, State Philharmonic Orchestra Brno, Dir .: Yinon ; Bayer Records, Atlantis 1992.
  • Symphony No. 2 (as well as works by Pavel Haas and Erwin Schulhoff); Czech Philharmonic, cond .: Albrecht; Orfeo (Musica rediviva) 1994.
  • Symphonies No. 1 + 2 , 6 songs op. 17 , Don Quixote dances Fandango (overture, 1944); Ausf .: Banse, Gürzenich-Orchester Köln, Dir .: Conlon ; Capriccio 2003.
  • Symphonies No. 1 + 2 ; Exec .: Brussels Philharmonic - the Orchestra of Flanders, Dir .: Albrecht ; Glossa 2009.
  • Piano Concerto op. 25 + Don Quixote dances Fandango , The Wise of Love and Death ; Exec .: Ardasev, Pluhar, Czech Philharmonic, cond .: Albrecht; Orfeo (Musica rediviva) 1995.
  • Piano Sonatas No. 1-7 ; Executed by: Konrad Richter; Bayer Records 1993.
  • Piano Sonatas No. 5-7 + String Quartet No. 3 , executed by Radoslav Kvapil, Kocian Quartet; Praga 2002.
  • Piano Sonatas No. 1-4 ; Executed by: Edith Kraus ; EDA 2002
  • Piano Sonata No. 6 ; Execution: Emil Leichner; Romantic Robot, UK 1991
  • Songs ( Die Weise von Liebe & Tod , 5 Liebeslieder op. 26 , 4 Gesänge nach Hölderlin ), Vers .: Verhoeven, Shirai, Höll; Capriccio 2001.
  • Songs ( 5 love songs op.18, 6 songs op.17, 3 sonnets op.29, songbook of Hafez op.30, man and his day op.47, Always in the midst, Chinese songs, 3 songs after Meyer, 3 songs after Holderlin ); Vers .: Windmüller, Himmelhub, Schäfer, Bauni; Orfeo (Musica rediviva) 1995.
  • Beryoskele , from: Brezulinka (3 Yiddish songs op. 53) on CD Terezín / Theresienstadt (songs by Ullmann, Krása, Haas, Taube, Weber and others); Execution: von Otter , Forsberg, Gerhaher, Hausmann, Hope; Deutsche Grammophon 2007.
  • It's difficult to leave the beautiful - complete songs for soprano and piano by Viktor Ullmann (Irena Troupová - soprano, Jan Dušek - piano). Prague, ArcoDiva 2015.

See also

literature

  • Theodor Veidl : Viktor Ullmann, the linear . In: Der Auftakt , 9, 1929, pp. 77–78
  • Traces of Viktor Ullmann. With contributions by Viktor Ullmann, Herbert Thomas Mandl, Paul Kling, Jean-Jacques Van Vlasselaer, Dževad Karahasan, Ingo Schultz and Herbert Gantschacher. ARBOS - Society for Music and Theater / edition selene, Vienna 1998, ISBN 3-85266-093-9
  • Hans-Günter Klein : "Live in the moment, live in eternity". The presentations of the symposium on the occasion of the 100th birthday of Viktor Ullmann in Berlin on October 31/1. November 1998 . Saarbrücken 2000, ISBN 3-89727-099-4
  • Ingo Schultz: Lexicon article. In: The New Grove Dictionary of Music and Musicians , second edition. Oxford University Press, 2001.
  • Ingo Schultz: Lexicon article. In: Music in the past and present , Kassel 2006.
  • Herbert Thomas Mandl : Traces to Theresienstadt . DVD. ARBOS, Vienna / Salzburg / Klagenfurt 2007 (about Theresienstadt, Hans Krása and Viktor Ullmann)
  • Verena Naegele: Viktor Ullmann. Composing in lost time . Dittrich, Cologne 2002, ISBN 3-920862-40-6
  • Composers in Theresienstadt . 2nd Edition. Initiative Hans Krása, named after Hans Krása , Association of Friends and Supporters of the Theresienstädter Initiative e. V., Hamburg 2001, ISBN 3-00-005164-3
  • Herbert Gantschacher : Witness and Victim of the Apocalypse . Exhibition catalog about Viktor Ullmann, World War I and the opera “The Emperor of Atlantis or The Todt Refusal”. ARBOS, Vienna / Salzburg / Klagenfurt / Arnoldstein / Prora 2007–2008, youtube.com
  • Erich Heyduck, Herbert Gantschacher: Viktor Ullmann - way to the front 1917 . DVD. ARBOS Vienna / Salzburg / Klagenfurt 2007
  • Hans-Günter Klein (Ed.): Viktor Ullmann - materials . Hamburg 1997, ISBN 3-928770-40-3
  • Stefan Schmidl: Ullmann, Viktor. In: Oesterreichisches Musiklexikon . Online edition, Vienna 2002 ff., ISBN 3-7001-3077-5 ; Print edition: Volume 5, Verlag der Österreichischen Akademie der Wissenschaften, Vienna 2006, ISBN 3-7001-3067-8 .
  • Ingo Schultz: Lost Works of Viktor Ullmann in the Mirror of Contemporary Press Reports. ISBN 3-928770-10-1
  • Ingo Schultz: Life where everything musical contrasts with the environment. Viktor Ullmann on his 100th birthday. In: Novalis , No. 12/1, Schaffhausen 1997
  • Ingo Schultz: Viktor Ullmann. Life and work. Kassel 2008, ISBN 978-3-476-02232-5 .
  • Viktor Ullmann - The presentations of the symposium on the occasion of the 50th anniversary of death 14. – 16. October 1994 in Dornach. Hamburg 1996
  • Viktor Ullmann: 26 reviews of musical events in Theresienstadt. Edited and commented by Ingo Schultz, ISBN 3-928770-08-X
  • Herbert Gantschacher Viktor Ullmann - Witness and Victim of the Apocalypse / Testimone e vittima dell'Apocalisse / Svědek a oběť apokalypsy / Prič in žrtev apokalipse . ARBOS-Edition, Arnoldstein / Klagenfurt / Salzburg / Vienna / Prora / Prague 2015, ISBN 978-3-9503173-3-6
  • Ганчахер Герберт Виктор Ульман - Свидетель и жертва апокалипсиса "Культ-информ-пресс» Санкт-Петербург 2016, ISBN 978-5-8392-0625-0
  • Viktor Ullmann - Priča in Žrtev Apocalipse (dodatno besedilo Aneja Rože, spremno besedilo Marko Klavora, prevod Angela Žugič) Goriški muzej Kromberk, ISBN 978-961-6201-74-2 , Nova Gorica 2018
  • ВИКТОР УЛЬМАН СВИДЕТЕЛЬ И ЖЕРТВА АПОКАЛИПСИСА - Viktor Ullmann witness and victim Apocalypse - Witness and Victim of th Apocalypse - Testimone e vittima dell'Apocalisse - Prica in žrtev Apokalipse - svědek a OBET apokalypsy original edition in six languages by Herbert Gantschacher, ARBOS edition, ISBN 978-3-9503173-6-7 , Arnoldstein, Klagenfurt - Salzburg Vienna 2018.

Web links

Commons : Viktor Ullmann  - Collection of images, videos and audio files

Individual evidence

  1. ↑ Viktor Ullmann's identity card issued on January 18, 1941 for the Prague ghetto
  2. ↑ Quoted in Hartmut Bomhoff: Music as Resistance . In: Jüdische Allgemeine, December 10, 2013, accessed on September 28, 2019.
  3. ↑ musicweb-international.com
  4. ^ Ingo Schultz: Ullman and others . In: Messages from musica reanimata, 2011
  5. ^ Herbert Gantschacher : Wilhelm Jerusalem - Helen Keller: Letters . ARBOS edition, 2012, ISBN 978-3-9503173-0-5
  6. ↑ First published in 1910 by Insel-Verlag, Leipzig, the new edition of the Hafisband by YinYang-Media Verlag: ISBN 3-935727-03-8 . About the book: yinyang-verlag.de and overview of the Bethgeschen Hafis nachdichtungen: yinyang-verlag.de
personal data
SURNAME Ullmann, Viktor
ALTERNATIVE NAMES Ullmann, Victor
BRIEF DESCRIPTION Austrian composer, conductor and pianist
DATE OF BIRTH January 1, 1898
PLACE OF BIRTH Teschen , Austria-Hungary
DATE OF DEATH October 18, 1944
Place of death Auschwitz-Birkenau concentration camp