alfredlexx60 (Soldat Chvéïk de retour)
Wien, 1. Bezirk, Gesellschaft der Musikfreunde (società degli amici della musica, sociedad de los amigos de la música, société des amis de la musique, society of the friends of music), Canovagasse/Karlsplatz/Musikvereinsplatz
History
The 1812 founded Society of Friends of Music of the Austrian Empire (now the Society of Friends of Music in Vienna) has set itself essentially three major tasks:
- The organization of concerts
- Collecting material of all kinds for documenting the music and musical life
- The maintenance of a conservatory.
The latter, often referred to as the Vienna Conservatory, became the leading musical training center of the Austro-Hungarian Empire but it had, because for sponsorship by a private association it had become too big, to be handed over in 1909 to state control; first it became the academy and finally today's University of Music and Performing Arts in Vienna. The other two self-set tasks fulfills the Society of the Friends of Music today as ever organized privately and independently on the basis of an association. Its home is the "Musikverein" (Vienna I, Bösendorfer street 12), built according to plans by Theophil Hansen and founded in 1870. It is the third own building in the history of the company.
The documentary and scientific objectives are met in archives, libraries and collections of the Society of Friends of Music, though, often abbreviated just to "Archive". This historic division split into three groups is concerning the content structured as follows:
Archives: music and letter autographs, music manuscripts, the actual file archive on the history of the Society and the Conservatory (with student matriculation register).
Library: handwritten and printed books (including medieval music manuscripts and tablatures), song books, magazines and other periodicals, librettos, printed documents of various kinds.
Collections: historic and non-European musical instruments, musical mementos, portrait and picture collections (portraits, topographic, historical, musical and theatrical representations in oil paintings, watercolors, drawings, all printing techniques and photographs), busts, statues, reliefs and medals.
The beginning of the collection activity falls into that period where just developed the musical historicism, for example, sheet music that became obsolete or musical instruments not in use anymore that appeared collectible. The stock has been and is by purchases and gifts, in the 19th century for a long time also by surrender of goods of the statutory copies by the police authority, supplemented.
The responsibility initially was in the hands of volunteer employees and officials of the Society (among them such well-known figures such as Raphael Georg Kiesewetter or Aloys Fuchs were) and since 1865 in those of salaried archive directors and their staff. Among them were well-known scientists such as Gustav Nottebohm, Carl Ferdinand Pohl, Eusebius Mandyczewksi and Karl Geiringer.
The purchases ranged from the library of Ernst Ludwig Gerber, in which again the library of Johann Gottfried Walther was included (1814), and the 1824 purchased musical instrument collection of Franz Glöggl from this one to acquisitions from the estate of Ludwig van Beethoven and Franz Schubert and further to the in late 19th century become customary and until the mid-1930s possible acquisitions of special individual pieces by patrons. After an interruption during the Nazi and postwar period it was not until the mid-1970s that it came to a continuous and significant continuation of collecting.
This break was twofold. After the dissolution ("decommissioning") of the Society and its subsequent inclusion in the Berlin "State Theater and Stage Academy" was planned this facility, which still bore the name of "Society of Friends of Music", exclusively to concentrate on the concert circuit. The music instrument collection was placed in the Museum of Art History. Archive and library should be transferred to the National Library (which ultimately not happened). Every active collection activity the by the new rulers taken over employees was prohibited. Finally, they were allowed, as long as archive and library are located at the Musikverein building, as hitherto, to accept any gifts, but with the following restrictions: only of small value and not owned by Jews or Jewish pre-possession. Higher-quality gifts and objects owned by Jews were reserved for other institutions. In May 1945, the Society as an independent association was re-established. Severe war damage to the building, the difficult re-establishement of a concert circuit and all the economic problems of this time a long consolidation phase have required that with several setbacks lasted to the sixties. Thus, for example, was doubted whether they could take back at all the collection of musical instruments located at the Kunsthistorisches Museum, so it came only in 1971 to a partial and in 1988 to a total return. It was only in the seventies, that it came to the slow resumption of a targeted programmatic collection activity for archive, library and collection through purchases or with the effort to get special gifts or estates.
Besides the already mentioned examples of purchases, from the beginning on gifts were essential for the building up of the stocks. Often essential pieces came from individuals, but crucial for the growing reputation of stocks were estates. Highlighted only should be the estates of archduke Rudolph of Austria (1831), Joseph Sonnleithner (1835), Carl Czerny (1857), Joseph Ritter von Spaun (1865), Simon Sechter (1867), Leopold von Sonnleithner (1873), Ludwig Ritter von Kochel (1877), Count Victor Wimpffen (1892), Johannes Brahms (1897), Nicolaus Dumba (1900), Ludwig Bösendorfer (1919), Alfred Grünfeld (1927) and after a long pause that of Gottfried von Einem (as premature legacy 1979), Francis Burt (1981 premature legacy), Karl Pfannhauser (1984), Immogen Fellinger (2001) and Ernst Märzendorfer (2009). Even of the well-known gift donors, leaving stocks from their own property, only a few can be mentioned in selection: The city of Lübeck (1814), Georg August Griesinger (1814), Raphael Georg Kiesewetter (several times), Aloys Fuchs (many times), archduke Leopold Ludwig of Austria (1865), Joseph Dessauer (1870), emperor Franz Joseph I. (1879, 1905), family Haslinger (1887), Dr. Joseph Standthartner (1888), Marie Schumann (1913), Else Billroth (1915), Alma Maria Gropius-Mahler (1917), Erich Wolfgang Korngold (1917, 1937), monsignor Dr. Charles Weczerzik-Planheim (1923, a violin from Franz Geissenhoff, remarkable because this was the only string instrument of standard type or conventional design and till the end of the 20th century remained that was included in the collection of musical instruments), Anton von Webern (1937), Anthony van Hoboken (1977), HC Robbins Landon (2002), Renate and Kurt Hofmann (2002), Gottfried Scholz (2007, 2014).
Although according to the original intentions "music in all its styles" should be collected and documented, hence, without time and spatial restriction, and here actually also sources on English, French, Italian and Eastern European music history exist, in the stock development but main areas have resulted which may be titled as follows: Renaissance and early Baroque, Italian Baroque opera, Vienna classical and pre-classical, Franz Schubert, Robert Schumann, Johannes Brahms and his circle, Gustav Mahler, Austrian music of the 20th century.
The broadly based collection area the stocks also for the art, literature, cultural and social history makes interesting.
Wien, 1. Bezirk, Gesellschaft der Musikfreunde (società degli amici della musica, sociedad de los amigos de la música, société des amis de la musique, society of the friends of music), Canovagasse/Karlsplatz/Musikvereinsplatz
History
The 1812 founded Society of Friends of Music of the Austrian Empire (now the Society of Friends of Music in Vienna) has set itself essentially three major tasks:
- The organization of concerts
- Collecting material of all kinds for documenting the music and musical life
- The maintenance of a conservatory.
The latter, often referred to as the Vienna Conservatory, became the leading musical training center of the Austro-Hungarian Empire but it had, because for sponsorship by a private association it had become too big, to be handed over in 1909 to state control; first it became the academy and finally today's University of Music and Performing Arts in Vienna. The other two self-set tasks fulfills the Society of the Friends of Music today as ever organized privately and independently on the basis of an association. Its home is the "Musikverein" (Vienna I, Bösendorfer street 12), built according to plans by Theophil Hansen and founded in 1870. It is the third own building in the history of the company.
The documentary and scientific objectives are met in archives, libraries and collections of the Society of Friends of Music, though, often abbreviated just to "Archive". This historic division split into three groups is concerning the content structured as follows:
Archives: music and letter autographs, music manuscripts, the actual file archive on the history of the Society and the Conservatory (with student matriculation register).
Library: handwritten and printed books (including medieval music manuscripts and tablatures), song books, magazines and other periodicals, librettos, printed documents of various kinds.
Collections: historic and non-European musical instruments, musical mementos, portrait and picture collections (portraits, topographic, historical, musical and theatrical representations in oil paintings, watercolors, drawings, all printing techniques and photographs), busts, statues, reliefs and medals.
The beginning of the collection activity falls into that period where just developed the musical historicism, for example, sheet music that became obsolete or musical instruments not in use anymore that appeared collectible. The stock has been and is by purchases and gifts, in the 19th century for a long time also by surrender of goods of the statutory copies by the police authority, supplemented.
The responsibility initially was in the hands of volunteer employees and officials of the Society (among them such well-known figures such as Raphael Georg Kiesewetter or Aloys Fuchs were) and since 1865 in those of salaried archive directors and their staff. Among them were well-known scientists such as Gustav Nottebohm, Carl Ferdinand Pohl, Eusebius Mandyczewksi and Karl Geiringer.
The purchases ranged from the library of Ernst Ludwig Gerber, in which again the library of Johann Gottfried Walther was included (1814), and the 1824 purchased musical instrument collection of Franz Glöggl from this one to acquisitions from the estate of Ludwig van Beethoven and Franz Schubert and further to the in late 19th century become customary and until the mid-1930s possible acquisitions of special individual pieces by patrons. After an interruption during the Nazi and postwar period it was not until the mid-1970s that it came to a continuous and significant continuation of collecting.
This break was twofold. After the dissolution ("decommissioning") of the Society and its subsequent inclusion in the Berlin "State Theater and Stage Academy" was planned this facility, which still bore the name of "Society of Friends of Music", exclusively to concentrate on the concert circuit. The music instrument collection was placed in the Museum of Art History. Archive and library should be transferred to the National Library (which ultimately not happened). Every active collection activity the by the new rulers taken over employees was prohibited. Finally, they were allowed, as long as archive and library are located at the Musikverein building, as hitherto, to accept any gifts, but with the following restrictions: only of small value and not owned by Jews or Jewish pre-possession. Higher-quality gifts and objects owned by Jews were reserved for other institutions. In May 1945, the Society as an independent association was re-established. Severe war damage to the building, the difficult re-establishement of a concert circuit and all the economic problems of this time a long consolidation phase have required that with several setbacks lasted to the sixties. Thus, for example, was doubted whether they could take back at all the collection of musical instruments located at the Kunsthistorisches Museum, so it came only in 1971 to a partial and in 1988 to a total return. It was only in the seventies, that it came to the slow resumption of a targeted programmatic collection activity for archive, library and collection through purchases or with the effort to get special gifts or estates.
Besides the already mentioned examples of purchases, from the beginning on gifts were essential for the building up of the stocks. Often essential pieces came from individuals, but crucial for the growing reputation of stocks were estates. Highlighted only should be the estates of archduke Rudolph of Austria (1831), Joseph Sonnleithner (1835), Carl Czerny (1857), Joseph Ritter von Spaun (1865), Simon Sechter (1867), Leopold von Sonnleithner (1873), Ludwig Ritter von Kochel (1877), Count Victor Wimpffen (1892), Johannes Brahms (1897), Nicolaus Dumba (1900), Ludwig Bösendorfer (1919), Alfred Grünfeld (1927) and after a long pause that of Gottfried von Einem (as premature legacy 1979), Francis Burt (1981 premature legacy), Karl Pfannhauser (1984), Immogen Fellinger (2001) and Ernst Märzendorfer (2009). Even of the well-known gift donors, leaving stocks from their own property, only a few can be mentioned in selection: The city of Lübeck (1814), Georg August Griesinger (1814), Raphael Georg Kiesewetter (several times), Aloys Fuchs (many times), archduke Leopold Ludwig of Austria (1865), Joseph Dessauer (1870), emperor Franz Joseph I. (1879, 1905), family Haslinger (1887), Dr. Joseph Standthartner (1888), Marie Schumann (1913), Else Billroth (1915), Alma Maria Gropius-Mahler (1917), Erich Wolfgang Korngold (1917, 1937), monsignor Dr. Charles Weczerzik-Planheim (1923, a violin from Franz Geissenhoff, remarkable because this was the only string instrument of standard type or conventional design and till the end of the 20th century remained that was included in the collection of musical instruments), Anton von Webern (1937), Anthony van Hoboken (1977), HC Robbins Landon (2002), Renate and Kurt Hofmann (2002), Gottfried Scholz (2007, 2014).
Although according to the original intentions "music in all its styles" should be collected and documented, hence, without time and spatial restriction, and here actually also sources on English, French, Italian and Eastern European music history exist, in the stock development but main areas have resulted which may be titled as follows: Renaissance and early Baroque, Italian Baroque opera, Vienna classical and pre-classical, Franz Schubert, Robert Schumann, Johannes Brahms and his circle, Gustav Mahler, Austrian music of the 20th century.
The broadly based collection area the stocks also for the art, literature, cultural and social history makes interesting.