Vilma von Webenau

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Vilma Webenau in 1924. From Arnold Schönberg's photo album that his students had given him for his 50th birthday. The album is in the Schönberg-Center Vienna

Vilma von Webenau (sometimes also Wilma) (born February 15, 1875 in Constantinople , † October 9, 1953 in Vienna ) was an Austrian composer , Vilma Webenau since the Austrian Nobility Repeal Act 1919 .

Life

Vilma von Webenau grew up in Vienna and was a piano student of Cäcilie (von) Frank (1851-1936?), Who ran an illustrious musical salon in the 1st district and was the piano accompanist of the Hellmesberger Quartet and Arnold Rosé . From her she received extensive artistic training and made some public appearances that were discussed in local newspapers. Cäcilie (von) Frank's apartment was also an important meeting point for the Viennese musical world. Vilma von Webenau's classmates included Grete Hinterhofer and Rosa Lemberger . In Vienna, Vilma von Webenau was probably Arnold Schönberg's first private student . With him she took harmony and composition lessons from 1898/99 to 1902 and followed him in 1900 when he moved to Berlin . At the end of 1899 she also gave successful concerts in London.

She then lived as a music teacher in Vienna, where her works were performed publicly for the first time in 1907: “The early pupil Vilma von Webenau, whose music Schönberg presented in his first pupil concert in November 1907 in Vienna, and the composers Iwanow and Karl Horowitz performed in the same concert , as well as Erwin Stein as a composer, have apparently not yet been of interest to research; there is a gap here; She had considered Schönberg to be just as important as Alban Berg, Anton Webern and Heinrich Jalowetz , who all had their say in the same concert. "

Another teacher of hers was Fritz Cortolezis in Munich, where she lived in Krailling- Planegg (Dürerstraße 41F) for several years around 1910 and probably earned her living as a music and piano teacher. She was a member of the Vienna Musicians ' Club , which to this day advocates a coexistence of women and men within the women's movement . Along with Maria Bach (1896–1978) and Mathilde Kralik von Meyrswalden (1857–1944), she was one of the club's most prominent personalities. In 1917/18 Vilma von Webenau gave the music theory lecture series on music then and now in the Association of Music Teachers , the predecessor of the Club of Viennese Musicians . The six lectures took place in the New Women's Club at Tuchlauben 11 in Vienna. According to her biographer Rochus Kralik von Meyrswalden, she is believed to have had a lesbian relationship with Mathilde Kralik von Meyrswalden.

Nothing is known about Vilma Webenau's life during the Nazi era. She died after spending several days in the Wilhelminenspital in Vienna and was buried in the Vienna Central Cemetery , but a grave can no longer be found. An inheritance act, however, has been preserved. Her musical estate is in the music collection of the Austrian National Library , where it was only brought in by her nephew Alexander Petschig four years after her death.

In the obituary of the women's club it was said: “She lived and died in poor circumstances, dependent on the income from her small pension, in a modest cabinet in the 21st district . She never complained, she was happy and grateful for every attention, and her last joy was the artistically perfect rendering of her six songs from the cycle "Earthly and Heavenly Love". None of us knew about her illness, about its near end. The loving Christmas greeting from the management of the women's club came back unopened. Modest as she was in life, she passed away. "

family

Vilma (Weber) of Webenau was the daughter of the imperial embassy Council in Constantin Opel Arthur Weber Edler von Webenau and Vilma Reichsfreiin of Geusau . Her grandmother was the composer Julie von Webenau .

Works

  • On a sultry Sciroccotag [song for voice and piano]; Text by Malwida von Meysenbug
  • Liberation [song for voice and piano]; Text by Juliane Ludwig-Braun
  • Bettelmanns Hochzeit (from the Knaben Wunderhorn) [for voice and piano]
  • The fakir [opera]
  • The moon rises [song for voice and piano]; Text by Omar Chayyām
  • The Poldl (an old Viennese story in 6 pictures)
  • The Ballad from the Spielmann [for a voice and chamber orchestra]
  • Die Himmelspförtnerin [song for voice and piano]; Text by Franz Karl Ginzkey
  • The princess [interlude in an elevator]
  • Divertimento [Small Suite for Orchestra]
  • Don Antonio [Opera in three acts]
  • Three songs [for voice and string orchestra]
Restless night; "Today was mine until a young day" by Conrad Ferdinand Meyer
Memories; "The night wind has in the trees" by Nikolaus Lenau
The weather vane; "What kind of a virgin is that" by Franz Schmidt
O mother, Mary
Leaf on leaf falls from bush and trees
I'm so tired
  • Three songs [for voice and piano]
Moonrise; "Strange in the Bushes" by Ferdinand Avenarius
I look up; Text by Friedrich Nietzsche
Religious; "The moon shines on my bed" by Gustav Falke
The soldier's bride; "The tree's shadow"
Remain silent; "Silence, my pearl chest"
To the summer wind; "Take the scent of the chrysanthemums"
  • Drei Lieder im Volkston (from the Knaben Wunderhorn) (Incipit: Widele wedele hinterm Städtele) [for voice and piano]
  • A Brief Moment [song for voice and piano]; Text by Omar Chayyām
  • Once [song for voice and piano]; Text by Karl Stieler
  • Memories [song for voice and piano]; Text by Nikolaus Lenau
  • It's so quiet around me [song for voice and piano]; Text by Peter Sturmbusch
  • Frau Judith [for a speaking voice and piano]; by Josef Kiss
  • Frau Müllerin [song for voice and piano]
  • It snowed flowers tonight [song for voice and piano]; Peter Sturmbusch
  • Listen, what a magic tone [song for voice and piano]; Text by Sándor Petőfi
  • I'm so tired [song for voice and piano]; Text by Peter Sturmbusch
  • In the inn at the king's servant [for a speaking voice and piano]
  • Im Lenz [song for voice and piano]; Text by Paul Heyse
  • Earthly and Heavenly Love [Songs for Voice and Piano]
I. We dance the journey
II. Maria Queen of May
III. Currents of life flood the universe
IV. In peace we draw our road
V. Who speaks of old age and loneliness
VI. The day's work is done
  • Piano quartet in E minor
  • Piano pieces (99/100/101/102)
  • Piano pieces
The prince
The princess
The witch
The fairy
The wedding
  • Piano pieces
spring
summer
autumn
winter
  • Small ballet suite [for orchestra]
March of the Icicles
Dance of the Snowflakes
Song of the storm
  • Comedy in four pictures (characters: Colombine, Pierrette, Pierrot, Harlequin)
  • Songs of the Geisha [for voice and piano]
It was spring
To please him
That gave me astonishment
It is autumn now
  • Songs for voice and piano
Snow; “No sound is far and wide” by Trude von Guttmann
Stars; “The stars wear out” by Trude von Guttmann
Winter; "The flakes fly" by M. von Grünzweig
  • Marienlieder [for voice and piano]
The Annunciation ("In humility I bow")
The birth of Christ ("My child lies in a manger")
Golgotha ​​("My son, my son")
  • My darling we sat together in the light boat [for piano]
  • Lunch break [song for voice and piano]; Text by Wilhelm Lackinger
  • Moonrise [song for voice and piano]; Text by Ferdinand Avenarius
  • Music for Andersen's fairy tale "The little girl with the sulfur woods" [for 3 sopranos, 2 altos, 1 tenor or small choir and orchestra]
  • Mysterium [musical-dramatic poem] (Former title: The Path)
  • Night Feeling [song for voice and piano]; Text by Martin Greif
  • O little ship under the rainbow [song for voice and piano]
  • Orchestral work
Scaramouche
La lune blanche
Lady souris
  • Overture "To the golden horn" [for orchestra]
  • Pastorale [a radio play]
  • Hoar frost crackles in the branches [song for voice and piano]
  • Salambô Suite [for piano]
The binge
Salambo's lawsuit
Withdrawal of the barbarians
Prayer to the moon
Cheers at the sight of the sacred veil
The Moloch victim
The wedding procession
  • Schnee [song for voice and piano]
  • Beautiful country we love you [song for voice and piano]
  • Silver glow of the moon in the grove [song for voice and piano]
  • Summer songs [for string quartet and a speaking voice]
delphinium
Red poppy
forget Me Not
Cornflowers
jasmine
Roses
  • String quartets (91/92/93)
  • Pieces for violin and piano (87/88/89/90)
  • Suite Pan [for orchestra]
  • Suite summer night [for orchestra]
  • Symphony for string orchestra
  • Restless Night [song for voice and piano]; Text by Gottfried Keller
  • Restless Night [song for voice and piano]; Text by Gottfried Keller (different version)
  • Variations for orchestra
  • In vain serenade [for orchestra]
  • Dedicated to four dancers: The Lady in Violet, The Lady in Red, The Lady in Green, The Lady in Yellow [for piano]
  • Untitled vocal work [for 4 solo voices (girl, shepherd, 1st and 2nd dwarf), choir and orchestra]
  • Wake Up [song for voice and piano]; Text by Omar Chayyām
  • Weather vane [song for voice and piano]; Text by Franz Schmidt
  • How deeply the fields are silent [song for voice and piano]
  • Winter [song for voice and piano]; Text by M. von Grünzweig
  • Two songs [for voice and piano]
In spring; "In spring when violets bloom" by Paul Heyse
Midsummer night; “The wide world rests in silence” by Martin Greif
  • Two songs [for voice and piano]
In spring; "In spring when violets bloom" by Paul Heyse
Snow; “No sound is far and wide” by Trude von Guttmann
Wake up!
The moon is rising
  • Two songs [for voice and piano]
Last blooming causes wilting
Beautiful country we love you

literature

  • Georg Hauer: The Club of Viennese Musicians - Women write music history , Vindobona Verlag, Vienna 2003, ISBN 3-85040-051-4 .
  • Alexander Zemlinsky: Briefwechsel Wiener Schule , Schott Verlag, Mainz 2006, ISBN 3-79570-577-0 .
  • Journal of the Arnold Schoenberg Institute , University of Southern California, 1976.
  • Anna Benedikt: "I would be proud to be recognized by you and your students to a certain extent as a 'Schönberg student'." Arnold Schönberg's Viennese students . Diploma thesis (2008).
  • Rochus Kralik von Meyrswalden: A kiss from Franz Liszt. Mathilde Kralik from Meyrswalden. Acabus 2009, ISBN 3-94140-402-4 .
  • Susanne Wosnitzka: Vilma Weber von Webenau - blown traces? , in: Archiv Frau und Musik Frankfurt / Main (ed.): VivaVoce No. 99, 2/2014, pp. 2–5.
  • Susanne Wosnitzka: “Common need strengthens the will” - networks of musicians in Vienna , in: Annkatrin Babbe and Volker Timmermann (eds.): Musicians and their networks in the 19th century . Oldenburg 2016 (= series of publications by the Sophie Drinker Institute (Ed. Freia Hoffmann), vol. 12). ISBN 978-3-8142-2338-4 .
  • Eva Marx and Gerlinde Haas: 210 Austrian women composers from the 16th century to the present. Residenz Verlag, Salzburg, Vienna, Frankfurt 2001, ISBN 3-7017-1215-8 , pp. 385–389.

Web links

Individual evidence

  1. Cf. Susanne Wosnitzka: “Common need reinforces the will” - networks of female musicians in Vienna , in: Annkatrin Babbe and Volker Timmermann (ed.): Female musicians and their networks in the 19th century . Oldenburg 2016 (= series of publications by the Sophie Drinker Institute (ed. Freia Hoffmann), vol. 12), p. 141.
  2. See ibid.
  3. Cf. Anna Benedikt: "I would be proud to be recognized by you and your students to a certain extent as a 'Schönberg student'." Arnold Schönberg's Wiener Schülerinnen , p. 38. Anna Benedikt found out that Schönberg was alone in Vienna must have had over 50 composition students. As a digitized version . Quoted from Gradenwitz, Peter: Paths to the work of Arnold Schönberg. His students as teachers , in: Christian Meyer (ed.): Arnold Schönbergs Wiener Kreis. Arnold Schönberg's Viennese Circle . Report on the symposium 12. – 15. September 1999. Vienna 2000 (= Journal of the Arnold Schönberg Center 2/2000). P. 20.
  4. Cf. Susanne Wosnitzka: “Common need reinforces the will” - networks of female musicians in Vienna , in: Annkatrin Babbe and Volker Timmermann (ed.): Female musicians and their networks in the 19th century . Oldenburg 2016 (= series of publications by the Sophie Drinker Institute (ed. Freia Hoffmann), vol. 12), p. 142.
  5. See Anna Benedikt digitized version .
  6. Cf. Georg Hauer: The Club of Viennese Musicians - Women write music history , Vienna 2003, p. 118ff.
  7. Personal conversation between Rochus Kralik von Meyrswalden and Gerhard Alexander von Webenau. Cf. Susanne Wosnitzka: “Common need reinforces the will” - networks of female musicians in Vienna , in: Annkatrin Babbe and Volker Timmermann (ed.): Female musicians and their networks in the 19th century . Oldenburg 2016 (= series of publications by the Sophie Drinker Institute (Ed. Freia Hoffmann), vol. 12), p. 146.
  8. Cf. Eva Marx and Gerlinde Haas (eds.): 210 Austrian women composers , Vienna 2001, p. 388.
  9. Cf. Susanne Wosnitzka: “Common need reinforces the will” - networks of female musicians in Vienna , in: Annkatrin Babbe and Volker Timmermann (ed.): Female musicians and their networks in the 19th century . Oldenburg 2016 (= series of publications by the Sophie Drinker Institute (ed. Freia Hoffmann), vol. 12), p. 143.
  10. Cf. Georg Hauer: The Club of Viennese Musicians - Women write music history , Vindobona Verlag, Vienna 2003, p. 216.