• 78 rpm
• A Hero's Life
• Adolf Hitler
• Alexander Ritter
• Allegretto
• An Alpine Symphony
• Arabella
• Ariadne auf Naxos
• Arthur Schopenhauer
• Arturo Toscanini
• Aus Italien
• Baldur von Schirach
• Barbara W. Tuchman
• Berlin Philharmonic
• Berlin State Opera
• Bruno Walter
• Burleske
• Capriccio (opera)
• Carl Maria von Weber
• Claude Debussy
• Claus Helmut Drese
• Clemens Krauss
• Daniel Barenboim
• Daphne (opera)
• David Dubal
• Der Rosenkavalier
• Deutsche Grammophon
• Die Liebe der Danae
• Die schweigsame Frau
• Don Juan (Strauss)
• Egon Hilbert
• Egon Seefehlner
• Elektra (opera)
• Elektra chord
• EMI
• Erich Kleiber
• Exploring Music
• Felix Mendelssohn
• Felix Mottl
• Felix Weingartner
• Ferenc Fricsay
• Feuersnot
• Fidelio
• Four Last Songs
• Franz Konwitschny
• Franz Lachner
• Franz Salmhofer
• Franz Schalk
• Franz Strauss
• Franz von Jauner
• Franz Wüllner
• Friedenstag
• Friedrich Ebert
• Gaspare Spontini
• Gauleiter
• Georg Solti
• German Romanticism
• Gestapo
• Giacomo Meyerbeer
• Guntram (opera)
• Gustav Mahler
• Hans Gregor
• Hans Knappertsbusch
• Hans von Bülow
• Harold C. Schonberg
• Heinrich Karl Strohm
• Heinrich Reif-Gintl
• Heinz Tietjen
• Herbert von Karajan
• Hermann Levi
• Hermann Zumpe
• Horn (instrument)
• Indian Summer
• Intermezzo (opera)
• Ioan Holender
• Jewish
• Johann von Herbeck
• Johannes Eccard
• Johannes Wesalius
• Joseph Goebbels
• Joseph Keilberth
• Joseph Sucher
• Josephslegende
• Karl Böhm
• Kent Nagano
• Kirsten Flagstad
• Koch records
• Koch Records
• Leo Blech
• Lied
• Lohengrin (opera)
• Lorin Maazel
• Lothar Müthel
• Ludwig Karpath
• Ludwig van Beethoven
• Macbeth (Strauss)
• Magnetophon
• Maurice Ravel
• Max Liebermann
• Metamorphosen
• Morgen!
• Munich
• Nazi Party
• Nikolaus Zangius
• Norman Del Mar
• Olympische Hymne
• Oscar Wilde
• Otmar Suitner
• Otto Nicolai
• Paul Wittgenstein
• Pauline de Ahna
• Peter Cornelius
• Player piano
• Reichsmusikkammer
• Richard Strauss
• Richard Wagner
• Robert Radecke
• Robert Schumann
• Romantic music
• Rudolf Gamsjäger
• Rudolf Kempe
• Ruhe, meine Seele!
• Salome (opera)
• Schlagobers
• Schutzstaffel
• Soprano
• Stefan Zweig
• Suite (music)
• Symphonia Domestica
• Tannhäuser (opera)
• The Guardian
• Third Reich
• Thirty Years' War
• Time (magazine)
• Tone poem
• Tone poems (Strauss)
• Tristan und Isolde
• Vanguard Records
• Vienna Philharmonic
• Vienna State Opera
• Wikipedia Media help
• Wikipedia Persondata
• Wikisource
• Wilhelm Jahn
• William Brade
• Wolfgang Sawallisch
• World War II
• WorldCat
• Zubin Mehta
• 
  

• 
  Berlin State Opera
  The Staatsoper Unter den Linden (Berlin State Opera) is a German opera company. Its permanent home is the opera house on the Unter den Linden boulevard in the Mitte district of Berlin, which also hosts the Staatskapelle Berlin orchestra.
  King Frederick II of Prussia shortly after his accession to the throne commissioned the original building on the site. Construction work began in July 1741 with what was designed by Georg Wenzeslaus von Knobelsdorff to be the first part of a "Forum Fredericianum" on present-day Bebelplatz. Although not entirely completed, the Court Opera (Hofoper) was inaugurated with a performance of Carl Heinrich Graun's Cesare e Cleopatra on December 7, 1742. This event marked the beginning of the successful, 250-year co-operation between the Staatsoper and the Staatskapelle Berlin, the state orchestra, whose roots trace back to the 16th century.
  In 1842, Gottfried Wilhelm Taubert instituted the tradition of regular symphonic concerts. In the same year, Giacomo Meyerbeer succeeded Gaspare Spontini as General Music Director. Felix Mendelssohn also conducted symphonic concerts for a year.
  
  wn.com/Berlin_State_Opera
• 
  Deutsche Grammophon
  Deutsche Grammophon is a German classical record label which was the foundation of the future corporation to be known as PolyGram. It is now part of Universal Music Group (UMG) since its acquisition and absorption of PolyGram in 1999, and it is also UMG's oldest active label. It is also the oldest surviving established record company.
  Deutsche Grammophon Gesellschaft was founded in 1898 by German-born United States citizen Emile Berliner as the German branch of his Berliner Gramophone Company. Based in the city of Hannover (the founder's birthplace), the company had links with the U.S. Victor Talking Machine Company and the British Gramophone Company, but those links were severed at the onset of World War I.
  In 1941 Deutsche Grammophon was purchased by the Siemens & Halske electronics company.
  In 1949, Deutsche Grammophon sold the German rights of the His Master's Voice trademark to the Electrola Records unit of EMI. The dog and gramophone were replaced by the crown of tulips, designed by Siemens advertising consultant Hans Domizlaff.
  
  wn.com/Deutsche_Grammophon
• 
  Gestapo
  The Gestapo (German pronunciation: [ɡeˈstaːpo, ɡəˈʃtaːpo] ( listen); abbreviation of Geheime Staatspolizei, "Secret State Police") was the official secret police of Nazi Germany. Beginning on 20 April 1934, it was under the administration of the SS leader Heinrich Himmler in his position as Chief of German Police (Chef der Deutschen Polizei). From September 1939 forward it was administered by the Reichssicherheitshauptamt (RSHA) ("Reich Main Security Office") and was considered a sister organization of the Sicherheitsdienst (SD) ("Security Service") and also a suboffice of the Sicherheitspolizei (SiPo) ("Security Police").
  As part of the deal in which Adolf Hitler became Chancellor of Germany, Hermann Göring—future commander of the Luftwaffe and an influential Nazi Party official—was named Interior Minister of Prussia. This gave him command of the largest police force in Germany. Soon afterward, Göring detached the political and intelligence sections from the police and filled their ranks with Nazis. On 26 April 1933, Göring merged the two units as the Gestapo. He originally wanted to name it the Secret Police Office (German: Geheimes Polizeiamt), but discovered the German initials "GPA" would be too similar to the Soviet GPU.
  
  wn.com/Gestapo
• 
  Schutzstaffel
  The Schutzstaffel (German pronunciation: [ˈʃʊtsʃtafəl] ( listen), translated to Protection Squadron or defence corps, abbreviated SS—or with stylized "Armanen" sig runes) was a major paramilitary organization under Adolf Hitler and the Nazi Party. Built upon the Nazi ideology, the SS under Heinrich Himmler's command was responsible for many of the crimes against humanity during World War II (1939–1945). After 1945, the SS was banned in Germany, along with the Nazi Party, as a criminal organization.
  The SS began as a small permanent guard unit made up of NSDAP volunteers to provide security for Nazi Party meetings in Munich. Formed at the end of 1920, they were known as the "Saal-Schutz" (Hall-Protection). Later under the leadership of Heinrich Himmler between 1929 and 1945, the SS was renamed the "Schutz-Staffel" and grew from a small paramilitary formation to one of the largest and most powerful organizations in the Third Reich.
  The SS grew from a small paramilitary unit to a powerful force that served as the Führer's "Praetorian Guard", the Nazi Party's "Protection Squadron" and a force that, fielding almost a million men (both on the front lines and as political police), managed to exert as much political influence in the Third Reich as the Wehrmacht (Germany's regular armed forces).
  
  wn.com/Schutzstaffel
• 
  Vienna State Opera
  The Vienna State Opera (Wiener Staatsoper) is an opera house – and opera company – with a history dating back to the mid-19th century. It is located in the centre of Vienna, Austria. It was originally called the Vienna Court Opera (Wiener Hofoper). In 1920, with the replacement of the Habsburg Monarchy by the First Austrian Republic, it was renamed the Vienna State Opera. The members of the Vienna Philharmonic are recruited from its orchestra.
  The building was the first major building on the Vienna Ringstraße commissioned by the controversial Viennese "city expansion fund". Work commenced on the building in 1861 and was completed in 1869, following plans drawn up by architects August Sicard von Sicardsburg and Eduard van der Nüll, who lived together in the 6. Bezirk. It was built in the Neo-Renaissance style.
  The Ministry of the Interior had commissioned a number of reports into the availability of certain building materials, with the result that stones long not seen in Vienna were used, such as Wöllersdorfer Stein, for plinths and free-standing, simply-divided buttresses, the famously hard stone from Kaisersteinbruch, whose colour was more appropriate than that of Kelheimerstein, for more lushly decorated parts. The somewhat coarser-grained Kelheimerstein (also known as Solnhof Plattenstein) was intended as the main stone to be used in the building of the opera house, but the necessary quantity was not deliverable. Breitenbrunner stone was suggested as a substitute for the Kelheimer stone, and stone from Jois was used as a cheaper alternative to the Kaiserstein. The staircases were constructed from polished Kaiserstein, while most of the rest of the interior was decorated with varieties of marble.
  
  wn.com/Vienna_State_Opera

• 
  Adolf Hitler
  Adolf Hitler (German: [ˈadɔlf ˈhɪtlɐ] ( listen); 20 April 1889 – 30 April 1945) was an Austrian-born German politician and the leader of the National Socialist German Workers Party (German: Nationalsozialistische Deutsche Arbeiterpartei (NSDAP), commonly referred to as the Nazi Party). He was chancellor of Germany from 1933 to 1945 and dictator of Nazi Germany (as Führer und Reichskanzler) from 1934 to 1945. Hitler is commonly associated with the rise of fascism in Europe, World War II, and the Holocaust.
  A decorated veteran of World War I, Hitler joined the German Workers' Party, precursor of the Nazi Party, in 1919, and became leader of the NSDAP in 1921. In 1923, he attempted a coup d'état, known as the Beer Hall Putsch, in Munich. The failed coup resulted in Hitler's imprisonment, during which time he wrote his memoir, Mein Kampf (My Struggle). After his release in 1924, Hitler gained popular support by attacking the Treaty of Versailles and promoting Pan-Germanism, antisemitism, and anticommunism with charismatic oratory and Nazi propaganda. After his appointment as chancellor in 1933, he transformed the Weimar Republic into the Third Reich, a single-party dictatorship based on the totalitarian and autocratic ideology of Nazism. His aim was to establish a New Order of absolute Nazi German hegemony in continental Europe.
  
  wn.com/Adolf_Hitler
• 
  Alexander Ritter
  Alexander Sascha Ritter (7 June 1833 – 12 April 1896) was a German composer and violinist.
  He was born in Narva, Estonia. He studied in Frankfurt am Main under Joachim Raff. In 1854 he married Wagner's niece Franziska (1829-1895). They had a daughter Hertha, who in 1902 became the wife of the Austrian composer Siegmund von Hausegger.
  Ritter had a strong influence on Richard Strauss. He persuaded him to abandon the conservative style of his youth, and begin writing tone poems; he also introduced Strauss to the essays of Richard Wagner and the writings of Schopenhauer. He later wrote a libretto for the Strauss opera Feuersnot.
  Ritter died in Munich.
  He wrote two operas - Der faule Hans and Wem die Krone?, a few songs, a symphonic waltz and two symphonic fantasias.
  
  wn.com/Alexander_Ritter
• 
  Arthur Schopenhauer
  Arthur Schopenhauer (22 February 1788 – 21 September 1860) was a German philosopher known for his pessimism and philosophical clarity. At age 25, he published his doctoral dissertation, On the Fourfold Root of the Principle of Sufficient Reason, which examined the four separate manifestations of reason in the phenomenal world.
  Schopenhauer's most influential work, The World as Will and Representation, claimed that the world is fundamentally what humans recognize in themselves as their will. His analysis of will led him to the conclusion that emotional, physical, and sexual desires can never be fully satisfied. The corollary of this is an ultimately painful human condition. Consequently, he considered that a lifestyle of negating desires, similar to the ascetic teachings of Vedanta, Buddhism and the Church Fathers of early Christianity, was the only way to attain liberation.
  Schopenhauer's metaphysical analysis of will, his views on human motivation and desire, and his aphoristic writing style influenced many well-known thinkers, including Friedrich Nietzsche,Richard Wagner, Ludwig Wittgenstein, Erwin Schrödinger, Albert Einstein,Sigmund Freud, Otto Rank, Carl Jung, Joseph Campbell, Leo Tolstoy, Thomas Mann, and Jorge Luis Borges.
  
  wn.com/Arthur_Schopenhauer
• 
  Arturo Toscanini
  Arturo Toscanini (Italian pronunciation: [arˈtuːro toskaˈniːni]; March 25, 1867 – January 16, 1957) was an Italian conductor. One of the most acclaimed musicians of the late 19th and 20th century, he was renowned for his intensity, his perfectionism, his ear for orchestral detail and sonority, and his photographic memory. As music director of the NBC Symphony Orchestra he became a household name (especially in the United States) through his radio and television broadcasts and many recordings of the operatic and symphonic repertoire.
  Toscanini was born in Parma, Emilia-Romagna, and won a scholarship to the local music conservatory, where he studied the cello. He joined the orchestra of an opera company, with which he toured South America in 1886. While presenting Aida in Rio de Janeiro, Leopoldo Miguez, the locally hired conductor, reached the summit of a two-month escalating conflict with the performers due to his rather poor command of the work, to the point that the singers went on strike and forced the company's general manager to seek a substitute conductor. Carlo Superti and Aristide Venturi tried unsuccessfully to finish the work. In desperation, the singers suggested the name of their assistant Chorus Master, who knew the whole opera from memory. Although he had no conducting experience, Toscanini was eventually convinced by the musicians to take up the baton at 9:15 P.M., and led a performance of the two-and-a-half hour opera. The public was taken by surprise, at first by the youth and sheer aplomb of this unknown conductor, then by his solid mastery. The result was astounding acclaim. For the rest of that season Toscanini conducted eighteen operas, all with absolute success. Thus began his career as a conductor, at age 19.
  
  wn.com/Arturo_Toscanini
• 
  Baldur von Schirach
  Baldur Benedikt von Schirach (9 May 1907 – 8 August 1974) was a Nazi youth leader later convicted of being a war criminal. Schirach was the head of the Hitler-Jugend (HJ, Hitler Youth) and Gauleiter and Reichsstatthalter ("Reich Governor") of Vienna.
  Schirach was born in Berlin, the youngest of four children of theatre director Rittmeister Carl Baily Norris von Schirach (1873–1948) and his American wife Emma Middleton Lynah Tillou (1872–1944). Through his mother, Schirach descended from two signatories of the United States Declaration of Independence. English was in fact the first language which he learned at home and he was not able to speak German until the age of five. He had two sisters, Viktoria and Rosalind von Schirach, and a brother, Karl Benedict von Schirach, who committed suicide in 1919 at the age of 19.
  On 31 March 1932 von Schirach married 19-year-old Henriette Hoffmann, the daughter of Heinrich Hoffmann, Adolf Hitler's personal photographer and close friend. Von Schirach's family was vehemently opposed to the marriage to Henriette, but Hitler insisted. Von Schirach, says Gregor Strasser, was "a young effeminate aristocrat" upon whom Hitler bestowed Henriette and the HJ position. Through this relationship, von Schirach became part of Hitler's inner circle. The young couple were appreciated guests at Hitler's "Berghof". Henriette von Schirach gave birth to four children: Angelika Benedikta von Schirach (born 1933), Klaus von Schirach (born 1935), Robert von Schirach (1938) and Richard von Schirach (born 1942). The lawyer and bestselling German crime writer Ferdinand von Schirach is his grandson.
  
  wn.com/Baldur_von_Schirach
• 
  Bruno Walter
  Bruno Walter (September 15, 1876 – February 17, 1962) was a German-born conductor. Born in Berlin, he lived in several countries between 1933 and 1939, before finally settling in the United States in 1939. Though he was born Bruno Schlesinger, he began using Walter as his surname in 1896, and officially changed his surname to Walter upon becoming a naturalised Austrian in 1911. Walter was active as a composer for many years, but his works have not entered the repertoire.
  Born near Alexanderplatz in Berlin to a middle-class Jewish family as Bruno Schlesinger, he began his musical education at the Stern Conservatory at the age of eight, making his first public appearance as a pianist when he was nine. However, following visits to one of Hans von Bülow's concerts in 1889 and to Bayreuth in 1891, he changed his mind and decided upon a conducting career. He made his conducting début at the Cologne Opera with Albert Lortzing's Der Waffenschmied in 1894. Later that year he left for the Hamburg Opera to work as a chorus director. There he first met and worked with Gustav Mahler, whom he idolized and with whose music he later became strongly identified.
  
  wn.com/Bruno_Walter
• 
  Carl Maria von Weber
  Carl Maria Friedrich Ernst von Weber (18 or 19 November 1786 – 4–5 June 1826) was a German composer, conductor, pianist, guitarist and critic, one of the first significant composers of the Romantic school.
  Weber's operas Der Freischütz, Euryanthe and Oberon greatly influenced the development of the Romantic opera in Germany. Der Freischütz came to be regarded as the first German "nationalist" opera, Euryanthe developed the Leitmotiv technique to a hitherto-unprecedented degree, while Oberon anticipated Mendelssohn's music for A Midsummer Night's Dream and, at the same time, revealed Weber's lifelong interest in the music of non-Western cultures. This interest was first manifested in Weber's incidental music for Schiller's translation of Gozzi's Turandot, for which he used a Chinese melody, making him the first Western composer to use an Asian tune that was not of the pseudo-Turkish kind popularized by Mozart and others.
  A brilliant pianist himself, Weber composed four sonatas, two concertos and the Konzertstück (Concert Piece) in F minor, which influenced composers such as Chopin, Liszt and Mendelssohn. The Konzertstück provided a new model for the one-movement concerto in several contrasting sections (such as Liszt's, who often played the work), and was acknowledged by Stravinsky as the model for his Capriccio for Piano and Orchestra. Weber's shorter piano pieces, such as the Invitation to the Dance, was later orchestrated by Berlioz, while his Polacca Brillante was later orchestrated by Liszt.
  
  wn.com/Carl_Maria_von_Weber
• 
  Claude Debussy
  Claude-Achille Debussy (French pronunciation: [klod aʃil dəbysi]) (22 August 1862 – 25 March 1918) was a French composer. Along with Maurice Ravel, he was one of the most prominent figures working within the field of impressionist music, though he himself intensely disliked the term when applied to his compositions. In France, he was made Chevalier of the Legion of Honour in 1903. A crucial figure in the transition to the modern era in Western music, he remains one of the most famous and influential of all composers.
  His music is noted for its sensory component and for not often forming around one key or pitch. Often Debussy's work reflected the activities or turbulence in his own life. In French literary circles, the style of this period was known as symbolism, a movement that directly inspired Debussy both as a composer and as an active cultural participant.
  
  wn.com/Claude_Debussy
• 
  Claus Helmut Drese
  Claus Helmut Drese (25 December 1922, Aachen- 10 February 2011,Horgen, Switzerland) was a German opera and theatre administrator, and author.
  Drese led the theatre in Heidelberg from 1959 to 1962. From 1962 to 1968 he was director of the Hessisches Staatstheater Wiesbaden and gained prominence by inviting several theatre companies from Eastern Europe to the Internationale Maifestspiele Wiesbaden. In 1968 he began his work in Cologne where he first collaborated with Jean-Pierre Ponnelle. Then he was called to lead the Zurich opera house and gained world wide fame with a cycle of Monteverdi's operas conducted by Nikolaus Harnoncourt and staged by Ponnelle.
  In 1984 Austrian culture minister Helmut Zilk designated Drese as director of the Vienna State Opera in Vienna. Drese began his tenure in 1986 and chose Claudio Abbado as the State Opera's music director. In the following five years the State Opera experienced a very fruitful period. Abbado conducted both new productions and revivals, among them Un ballo in maschera (staged by Gianfranco de Bosio, designed by Emmanuele Luzzati), L'Italiana in Algeri (staged and designed by Ponnelle), Carmen (revival of the 1978 Franco Zeffirelli-production), Pelléas et Mélisande (staged by Antoine Vitez and designed by Yannis Kokkos), Il viaggio a Reims (staged by Luca Ronconi and designed by Gae Aulenti), Don Carlo (staged and designed by Pier Luigi Pizzi), Don Giovanni (staged by Luc Bondy, with Ruggero Raimondi as the Don), Le nozze di Figaro (staged by Jonathan Miller). Drese initiated cycle of all major Mozart-operas.
  
  wn.com/Claus_Helmut_Drese
• 
  Clemens Krauss
  Clemens Heinrich Krauss (31 March 1893 – 16 May 1954) was an Austrian conductor and opera impresario, particularly associated with the music of Richard Strauss.
  Krauss was born in Vienna, the out-of-wedlock child of Clementine Krauss, then a 15-year-old dancer in the Vienna Imperial Opera Ballet, later a leading actress and operetta singer, who was a niece of the prominent nineteenth-century operatic soprano, Gabrielle Krauss (1842-1904). His natural father, the chevalier Hector Baltazzi (1851-1916), belonged to a family of wealthy Phanariot bankers resident in Vienna. Baltazzi's older sister Helene was married to Baron Albin Vetsera and was the mother of Baroness Mary Vetsera, who was thus Clemens Krauss' first cousin.
  As a boy, Krauss was a chorister in the Hofkapelle (Imperial Choir). He attended the Vienna Conservatory, graduating in 1912. He studied composition with Hermann Graedener and theory with Richard Heuberger. After graduation he was chorus master in the Brno Theater (1912-1913). There he made his conducting debut in 1913. The famous Romanian soprano Viorica Ursuleac, with whom he often performed, was his second wife.
  
  wn.com/Clemens_Krauss
• 
  Daniel Barenboim
  Daniel Barenboim, KBE (born 15 November 1942) is an Argentine-born pianist and conductor. He has served as music director of several major symphonic and operatic orchestras and made numerous recordings.
  Currently, he is general music director of La Scala in Milan, the Berlin State Opera, and the Staatskapelle Berlin; he previously served as Music Director of the Chicago Symphony Orchestra and the Orchestre de Paris. Barenboim is also known for his work with the West-Eastern Divan Orchestra, a Sevilla-based orchestra of young Arab and Israeli musicians, and as an outspoken critic of the Israeli occupation of Palestinian territories.
  Barenboim has received many awards and prizes, including an honorary Knight Commander of the Order of the British Empire, France's Légion d'honneur both as a Commander and Grand Officier, the German Großes Bundesverdienstkreuz and Willy Brandt Award, and, together with the Palestinian-American scholar Edward Said, Spain's Prince of Asturias Concord Award. He has won seven Grammy awards for his work and discography.
  
  wn.com/Daniel_Barenboim
• David Dubal
  David Dubal (born Cleveland, Ohio) is an American pianist, teacher, author, broadcaster and painter.
  Dubal has taught at the Juilliard School in New York since 1983 and the Manhattan School of Music since 1994. Mr. Dubal is the host of "The Piano Matters" a program of comparative piano performances that can be heard on WWFM-FM and wwfm.org and other U.S. radio stations. He was the host of a weekly radio show on WQXR-FM, entitled "Reflections from the Keyboard" until the radio station was sold to WNYC-FM. He is the author of several books, including The Art of the Piano, Evenings With Horowitz, and The Essential Canon of Classical Music, an encyclopaedic guide to the prominent composers of the Western canon. Dubal wrote and hosted The Golden Age of Piano, an Emmy Award winning documentary, produced by Peter Rosen.
  Dubal has also performed recitals, master classes and lectures worldwide, and judged international competitions, including the Van Cliburn International Piano Competition.
  
  
  
  wn.com/David_Dubal
• 
  Egon Hilbert
  Egon Hilbert (19 May 1899 – 18 January 1968) was an Austrian opera/theatre director.
  Hilbert was born in Vienna, Austria where he would later study law and philosophy at the Universität Wien.
  In 1938, he was arrested by the Nazis and interned at Dachau concentration camp. In 1945, he was made provisional director of the Salzburger Landestheaters and attempted a reorganisation of the Salzburg Festival. From 1946 to 1953, he was chief of the Austrian Kulturinstituts. From 1959, he was general director of the Vienna Festival, and from 1963 until his death in 1968, he was the director of the Vienna State Opera.
  
  
  
  
  
  wn.com/Egon_Hilbert
• 
  Egon Seefehlner
  Egon Seefehlner (3 June 1912, Wien – 25 September 1997) was an Austrian jurist, editor and opera intendant.
  Seefehlner was born in Vienna Austria where he studied law at the Konsularakademie Wien. From 1938 to 1943 it was active in the politico-economic department of AEG, Berlin. From 1945 to 1961 he returned to Vienna where he worked as editor-in-chief of Der Turm magazine. During this time from 1946 he also served as general secretary of the Wiener Konzerthauses and later from 1954 assistant director of the Wiener Staatsoper.
  
  
  
  wn.com/Egon_Seefehlner
• 
  Erich Kleiber
  Erich Kleiber (5 August, 1890, Alsergrund, Vienna – 27 January, 1956, Zurich) was an Austrian conductor.
  Born in Vienna, Kleiber studied in Prague. In 1923, after conducting a stirring performance of Beethoven's Fidelio at the Berlin State Opera, he became that institution's music director.
  He was known for his interpretations of the standard symphonic and operatic repertoire, as well as for championing new works. In 1925 he conducted the première of Alban Berg's opera, Wozzeck. When Berg's second opera Lulu was branded Entartete Musik (degenerate music) by the Nazi Party, Kleiber, who was not Jewish and therefore could have continued his career under the Nazi regime, resigned from his post at the Berlin Opera in protest. Kleiber also repudiated his contract with La Scala in Milan in April 1939, shortly after the fascist Mussolini regime enacted its own anti-semitic legislation, saying: "...[since] la Scala is denied for Jews...both as a Christian and an artist, I can no longer co-operate."
  
  wn.com/Erich_Kleiber
• 
  Felix Mendelssohn
  Jakob Ludwig Felix Mendelssohn Bartholdy (German pronunciation: [ˈjaːkɔp ˈluːtvɪç ˈfeːlɪks ˈmɛndl̩szoːn baʁˈtɔldi]), born, and generally known in English-speaking countries, as Felix Mendelssohn (3 February 1809 – 4 November 1847) was a German composer, pianist, organist and conductor of the early Romantic period.
  The grandson of the philosopher Moses Mendelssohn, Felix Mendelssohn was born into a prominent Jewish family, although initially he was raised without religion and was later baptised as a Lutheran Christian. Mendelssohn was recognised early as a musical prodigy, but his parents were cautious and did not seek to capitalise on his talent.
  Early success in Germany, where he also revived interest in the music of Johann Sebastian Bach, was followed by travel throughout Europe. Mendelssohn was particularly well received in Britain as a composer, conductor and soloist, and his ten visits there – during which many of his major works were premiered – form an important part of his adult career. His essentially conservative musical tastes, however, set him apart from many of his more adventurous musical contemporaries such as Franz Liszt, Richard Wagner and Hector Berlioz. The Leipzig Conservatoire (now the University of Music and Theatre Leipzig), which he founded, became a bastion of this anti-radical outlook.
  
  wn.com/Felix_Mendelssohn
• Felix Mottl
  Felix Josef von Mottl (1856 – 2 July 1911) was an Austrian conductor and composer. He was regarded as one of the most brilliant conductors of his day. He composed three operas, of which Agnes Bernauer (Weimar, 1880) was the most successful, as well as a string quartet and numerous songs and other music. His orchestration of Wagner's Wesendonck Lieder is still the most commonly performed version. He was also a teacher, counting among his pupils Ernest van Dyck and Wilhelm Petersen.
  Born in Unter Sankt Veit, today Hietzing, Vienna, Mottl's birth date has been reported variously as 29 July, 24 August, and 29 August. After early voice training at the Löwenburg Konvikt, a training school for the Imperial Court Chapel, Mottl had a successful career at the Vienna Conservatoire. He became known as a gifted conductor of Wagner's music, and assisted Hans Richter in the preparations for the first complete Ring Cycle at Bayreuth; in 1886 he directed the performance of Tristan und Isolde at the Bayreuth Festival. From 1881 to 1903 he was conductor at the Karlsruhe Opera, and made a wide reputation for his activity there, particularly in producing the works of Wagner, Hector Berlioz and Emmanuel Chabrier, whose operas he championed; Mottl also orchestrated Chabrier's Bourrée fantasque and Trois valses romantiques. In later years, as a conductor of Wagner especially, he visited London and New York, where he was guest conductor for the Metropolitan Opera in 1903. In 1904 he was made a director of the Akademie der Künste at Berlin.
  
  wn.com/Felix_Mottl
• 
  Felix Weingartner
  Paul Felix von Weingartner, Edlervon Münzberg (2 June 1863 – 7 May 1942) was an Austrian conductor, composer and pianist.
  Weingartner was born in Zara, Dalmatia, Austria–Hungary (now Zadar, Croatia), to Austrian parents, and the family moved to Graz in 1868. His father died that same year. He studied with Wilhelm Mayer (who used the pseudonym of W. A. Rémy and also taught Ferruccio Busoni) and in 1881 went to Leipzig to study philosophy, but soon devoted himself entirely to music, entering the Conservatory in 1883 and also studying under Franz Liszt in Weimar: he was among Liszt's later pupils. Liszt helped produce Weingartner's opera Sakuntala for its world premiere in 1884 with the Weimar orchestra. According to the Liszt biographer Alan Walker, the Weimar orchestra of the 1880s was far from its peak of a few decades earlier—and the opera performance ended with orchestra going one way and chorus another. Walker sources this to Weingartner's autobiography, published in Zürich and Leipzig in 1928-1929. The same year, 1884, he became the director of the Königsberg Opera. From 1885 to 1887 he was Kapellmeister in Danzig, then until 1889 in Hamburg, and until 1891 in Mannheim. From 1891 he was Kapellmeister of the Royal Opera and conductor of symphony concerts in Berlin; he resigned from the Opera, though continuing to conduct the Symphony concerts, and settled in Munich, where he incurred the enmity of Rudolf Louis and Ludwig Thuille.
  
  wn.com/Felix_Weingartner
• Ferenc Fricsay
  Ferenc Fricsay (9 August 1914 – 20 February 1963) (pronounced [ˈfɛrɛnts ˈfritʃɒj]) was a Hungarian conductor. From 1960 until his death, he was an Austrian citizen.
  Fricsay was born in Budapest in 1914 and studied music under Béla Bartók, Zoltán Kodály, Ernst von Dohnányi, and Leo Weiner. With these and other faculty at the Budapest Academy of Music he studied piano, violin, clarinet, trombone, percussion, composition and conducting. Fricsay made his first appearance as a conductor at age 15, substituting for his father at the podium of the Young Musicians Orchestra of Budapest. In 1930, at the age of 16, he succeeded his father as conductor of the Young Musicians Orchestra.
  On graduating in 1933, Fricsay became repetiteur for the chorus of the Budapest Opera; then, from 1933 to 1943, he was music director of the Szeged Philharmonic Orchestra (Szeged is the third largest city in Hungary); he also served as director of its military band from 1933. In 1942, he was court-martialed by the government of Miklós Horthy for wanting to employ Jewish musicians, and for having "Jewish blood" himself (according to reliable reports, his mother was Jewish). When the Nazis occupied Hungary in 1944, the chief editor of the Szeged daily newspaper warned Fricsay that the Gestapo planned to arrest him; he and his wife and three children avoided this fate by going underground in Budapest.
  
  wn.com/Ferenc_Fricsay
• 
  Franz Konwitschny
  Franz Konwitschny (August 14, 1901, Fulnek, Moravia – July 28, 1962, Belgrade) was a German conductor and violist.
  He started his career on the viola, playing in the Leipzig Gewandhaus Orchestra under Wilhelm Furtwängler. In 1925, he moved to Vienna, where he played the viola with the Fitzner Quartet. He also began teaching at the Wiener Volkskonservatorium. He later became a conductor, joining the Stuttgart Opera in 1927. From 1949 until his death he was principal conductor of the Leipzig Gewandhaus Orchestra. From 1953 until 1955 he was also principal conductor of the Dresden Staatskapelle and from 1955 onward he led the Berlin State Opera.
  Like Furtwängler, Konwitschny used "expansive gestures" and had a "dislike of an exact beat." Konwitschny recorded a complete cycle of Beethoven symphonies.
  He was given the nickname Kon-whisky because of his heavy drinking habits. [1]
  His son Peter Konwitschny is a leading opera director in Germany.^{[citation needed]}
  
  
  
  
  
  
  
  wn.com/Franz_Konwitschny
• 
  Franz Lachner
  Franz Paul Lachner (2 April 1803 – 20 January 1890) was a German composer and conductor.
  Lachner was born in Rain am Lech to a musical family (his brothers Ignaz, Theodor and Vinzenz also became musicians). He studied music with Simon Sechter and Maximilian, the Abbé Stadler. He conducted at the Theater am Kärntnertor in Vienna. In 1834, he became Kapellmeister at Mannheim. In 1835 he received the first prize for symphonic composition at Vienna with his Sinfonia passionata, and became royal Kapellmeister at Munich, becoming a major figure in its musical life, conducting at the opera and various concerts and festivals. His career there came to a sudden end in 1864 after Richard Wagner's disciple Hans von Bülow took over Lachner's duties. Lachner remained officially in his post on extended leave for a few years until his contract expired.
  Lachner was a well-known and prolific composer in his day, though he is not now considered a major composer. His work, influenced by Ludwig van Beethoven and his friend Franz Schubert, is regarded as competent and craftsman-like, but is now generally little known. Among his greatest successes were his opera Caterina Cornaro (1841), his Requiem and his seventh orchestral suite (1881). In the present day it may be his organ sonatas (Opp. 175, 176, 177) as well as chamber music, in particular his music for wind instruments, that receives the most attention, though his string quartets and some of his eight symphonies have been performed and recorded. His songs, some of which are set to the same texts that Schubert used in his songs, contributed to the development of the German Lied.
  
  wn.com/Franz_Lachner
• 
  Franz Salmhofer
  Franz Salmhofer (22 January 1900 – 22 September 1975) was an Austrian composer, clarinetist, conductor and poet. He studied the clarinet, composition and musicology in Vienna and was a pupil of Franz Schreker and Franz Schmidt. From 1929 to 1945 Salmhofer served as Kapellmeister of the Burgtheater, from 1945 to 1954 he was director of the of Vienna State Opera and followed by the Vienna Volksoper from 1956 to 1963.
  With a conception of music that took Romanticism as its starting point, he was regarded by many at the end of the 1920s as progressive, but not to an extent that would have endangered performances of his works in the 1930s and 1940s or that would have forced him to emigrate. Among the most widely performed of contemporary composers, he became known primarily through his operas; Iwan Tarassenko (1938) demonstrates the humanistic ideals of the ‘good man’, and both the ballet Österreichische Bauernhochzeit (1933) and the opera Das Werbekleid (1943) feature folk elements. His honours include the Austrian State Prize (1937) and the prize of the City of Vienna (1960).
  
  wn.com/Franz_Salmhofer
• 
  Franz Schalk
  Franz Schalk (27 May 1863 – 3 September 1931) was an Austrian conductor. From 1918 to 1929 he was director of the Vienna State Opera, a post he held jointly with Richard Strauss from 1919 to 1924. Later, Schalk was involved in the establishment of the Salzburg Festival.
  Schalk was born in Vienna, Austria, where he later studied under composer Anton Bruckner. From 1900 he was first kapellmeister of the Vienna Court Opera. Between 1904 and 1921 he was head of the Gesellschaft der Musikfreunde Vienna. In 1918 he became director of the Vienna State Opera; however from 1919 he was co-director with Richard Strauss, and the well-known composer was "blatantly (though unofficially) the 'greater equal' of the pair". Tensions resulting from unclear division of responsibility between the two men eventually led to Strauss's resignation.
  Schalk's most famous quote is "Every theatre is an insane asylum, but an opera theatre is the ward for the incurables."
  Today Schalk is most famous for his work popularizing and revising the symphonies of his teacher Bruckner. He gave the premiere of Bruckner's Symphony No. 5 in 1894, but in a version much affected by cuts and changes, most of which are thought to have been made without Bruckner's approval. The ailing composer was too sick to attend the premiere. Schalk's version of the Fifth Symphony was the one chosen for first publication and was the only version heard by audiences for almost forty years. While many critics have attacked Schalk for his alterations to the original versions of Bruckner's works, others have pointed out that, without his popularizing work, Bruckner's music might have remained unknown. The conductor Leon Botstein is a prominent advocate of Schalk's versions of Bruckner's music.
  
  wn.com/Franz_Schalk
• Franz Strauss
  Franz Joseph Strauss (26 February 1822 – 31 May 1905) was a German musician. He was a composer, a virtuoso horn player and accomplished performer on the guitar, clarinet and viola. He was principal horn player of the Bavarian Court Opera for more than 40 years, a teacher at the Royal School of Music, Munich, and a conductor.
  Strauss is perhaps best known as the father of the composer Richard Strauss, on whose early musical development he was a great influence, steering his son to the classical and away from modern styles. As a composer, Strauss senior is remembered for his works for the horn. They include two concertos and numerous smaller works.
  Strauss was born in Parkstein, Bavaria. His father, Johann Urban Strauss, was of unsteady character; his children were illegitimate and he left their upbringing to their mother, Maria Anna Kunigunde Walter. She was a member of a large and musical family, and her brother (Johann) Georg Walter undertook the boy's musical education. Georg taught Strauss to play the clarinet, guitar and a range of brass instruments. At the age of nine, Strauss was taken on as a pupil and player by another uncle, Franz Michael Walter, a military bandmaster.
  
  wn.com/Franz_Strauss
• 
  Franz von Jauner
  Franz Ritter von Jauner (14 November 1831, Wien – 23 February 1900, Wien) was an Austrian theatre director and opera intendant.
  
  
  
  wn.com/Franz_von_Jauner
• 
  Franz Wüllner
  Franz Wüllner (28 January 1832 – 7 September 1902) was a German composer and conductor. He led the premieres of Richard Wagner's operas Das Rheingold and Die Walküre, but was much criticized by Wagner himself, who greatly preferred the more celebrated conductors Hans von Bülow and Hermann Levi.
  Wüllner was born in Münster and studied in his native place, and at Frankfurt, Berlin, Brussels, and Munich. Among his teachers was Anton Schindler, who styled himself Beethoven's amanuensis carrying on the true traditions of the master's style, a claim disputed by Beethoven's pupil Carl Czerny. In 1856 Wüllner became instructor in piano at the Munich Conservatory. He held the position of town musical director at Aix-la-Chapelle from 1858 to 1864. In 1867 he became director of the choral classes in the reorganized School of Music at Munich and wrote for them Chorübungen der Münchener Musikschule, text of score reading and singing (Solfege).
  He succeeded the temperamental Bülow in 1869 as conductor of the Court Opera and the Academy Courts. Here he conducted the first performances of Rheingold and Walküre (1869, 1870) before the production of the entire Ring cycle at the first Bayreuth Festival of 1876. It is for these renditions that he is usually remembered now.
  
  wn.com/Franz_Wüllner
• 
  Friedrich Ebert
  Friedrich Ebert (4 February 1871 – 28 February 1925) was a German politician of the Social Democratic Party of Germany (SPD).
  When Ebert was elected as the leader of the SPD after the death of August Bebel, the party members of the SPD were deeply divided because of the party's support for World War I. Ebert supported the Burgfrieden and tried to isolate the war opposers in the party. After the war and the end of the monarchy he served as the first President of Germany from 1919 until his death in office. Before being elected as President, he briefly served as Chancellor during the last months of the German Empire. After he was announced as the new President, the government intervened together with the army and right wing Freikorps against the leftist uprisings, which resulted in the death of several left politicians and ended the partnership of the SPD in government with the Independent Social Democratic Party of Germany (USPD).
  After that he changed his politics to a “policy of compensating“ between the left and the right, between the workers and the enterprises. For that he followed a policy of brittle coalitions. This resulted in some problems, for example the SPD agreed during the crisis of 1923 to an extension of the work time without extra payment for the workers, but the conservative parties hadn’t agreed to also introduce taxes for the rich as an compensation. His death, which resulted in the monarchist Paul von Hindenburg as his Presidential successor, is seen as an important break in the Weimar Republic, which ended less than a decade later.
  
  wn.com/Friedrich_Ebert
• 
  Gaspare Spontini
  Gaspare Luigi Pacifico Spontini (14 November 1774 – 24 January 1851) was an Italian opera composer and conductor, extremely celebrated in his time, though largely forgotten after his death.
  Born in Maiolati in the province of Ancona, now Maiolati Spontini, he spent most of his career in Paris and Berlin, but returned to his place of birth at the end of his life. During the first two decades of the 19th century, Spontini was an important figure in French opera. In his more than twenty operas, Spontini strove to adapt Gluck's classical tragédie lyrique to the contemporary taste for melodrama, for grander spectacle (in Fernand Cortez for example), for enriched orchestral timbre, and for melodic invention allied to idiomatic expressiveness of words. His single great masterpiece and success was La vestale.
  As a youth, Spontini studied at the Conservatorio della Pietà de' Turchini in Naples. In 1803, he went to Paris, where he was appointed court composer in 1805.
  In 1807, Spontini wrote La vestale, his best known work. Written with the encouragement of Empress Joséphine, its premiere at the Opéra in Paris established Spontini as one of the greatest Italian composers of his age. His contemporaries Cherubini and Meyerbeer considered it a masterpiece, and later composers like Berlioz and Wagner admired it.
  
  wn.com/Gaspare_Spontini
• 
  Georg Solti
  Sir Georg Solti, KBE,  /ˈdʒɔrdʒ ˈʃɒlti/ (21 October 1912 – 5 September 1997) was an orchestral and operatic conductor, best known for his appearances with opera companies in Munich, Frankfurt and London, and as a long-serving music director of the Chicago Symphony Orchestra. Born in Hungary, he studied in Budapest with Béla Bartók, Leo Weiner and Ernő Dohnányi. In the 1930s, he was a répétiteur at the Hungarian State Opera and worked at the Salzburg Festival for Arturo Toscanini. His career was interrupted by the rise of the Nazis, and because he was a Jew he fled the increasingly restrictive anti-semitic laws in 1938. After conducting a season of Russian ballet in London at the Royal Opera House he found refuge in Switzerland, where he remained during the Second World War. Not permitted to conduct there, he earned a living as a pianist.
  After the war Solti was appointed musical director of the Bavarian State Opera in Munich from 1946. In 1952 he moved to the Frankfurt Opera, where he remained in charge for nine years. He took German citizenship in 1953. In 1961 he became musical director of the Covent Garden Opera Company in London. During his ten-year tenure, he introduced changes that saw standards raised to the highest international levels. Under his musical directorship the status of the company was recognised with the grant of the title "the Royal Opera". He became a British subject in 1972.
  
  wn.com/Georg_Solti
• 
  Giacomo Meyerbeer
  Giacomo Meyerbeer (5 September 1791 – 2 May 1864) was a noted German opera composer, and the first great exponent of "grand opera." At his peak in the 1830s and 1840s, he was the most famous and successful composer of opera in Europe, yet he is rarely performed today.
  He was born to a Jewish family in Tasdorf (now a part of Rüdersdorf), near Berlin with the name Jacob Liebmann Beer. His father was the enormously wealthy financier Jacob Judah Herz Beer (1769-1825) and his much-beloved mother, Amalia Liebmann Meyer Wulff (1767-1854) also came from the wealthy elite. Their other children included the astronomer Wilhelm Beer and the poet Michael Beer.
  Beer's first keyboard instructor was Franz Lauska, a pupil of Johann Georg Albrechtsberger and a favoured teacher at the Berlin court. Beer also became one of Muzio Clementi's pupils while Clementi was in Berlin, and old Clementi himself, although he had long given up teaching, was so much struck, during a visit to Berlin, with the promise displayed in the boy's performance as to consent to give Beer lessons. Beer made his public debut in 1801 playing Mozart's D minor Piano Concerto in Berlin. The Allgemeine musikalische Zeitung reported: 'The amazing keyboard playing of young Bär (a Jewish lad of 9), who carried off the difficult passages and other solo parts with aplomb, and has fine powers of rendition even more rarely found in one of his age, made the concert even more interesting'.
  
  wn.com/Giacomo_Meyerbeer
• 
  Gustav Mahler
  Gustav Mahler (German pronunciation: [ˈɡʊstaf ˈmaːlɐ]; 7 July 1860 – 18 May 1911) was a late-Romantic Austrian composer and one of the leading conductors of his generation. He was born in the village of Kalischt, Bohemia, in what was then the Austrian Empire, now Kaliště in the Czech Republic. Then his family moved to nearby Iglau (now Jihlava) where Mahler grew up.
  As a composer, he acted as a bridge between the 19th century Austro-German tradition and the modernism of the early 20th century. While in his lifetime his status as a conductor was established beyond question, his own music gained wide popularity only after periods of relative neglect which included a ban on its performance in much of Europe during the Nazi era. After 1945 the music was discovered and championed by a new generation of listeners; Mahler then became one of the most frequently performed and recorded of all composers, a position he has sustained into the 21st century.
  Born in humble circumstances, Mahler displayed his musical gifts at an early age. After graduating from the Vienna Conservatory in 1878, he held a succession of conducting posts of rising importance in the opera houses of Europe, culminating in his appointment in 1897 as director of the Vienna Court Opera (Hofoper). During his ten years in Vienna, Mahler—who had converted to Catholicism from Judaism to secure the post—experienced regular opposition and hostility from the anti-Semitic press. Nevertheless, his innovative productions and insistence on the highest performance standards ensured his reputation as one of the greatest of opera conductors, particularly as an interpreter of the stage works of Wagner and Mozart. Late in his life he was briefly director of New York's Metropolitan Opera and the New York Philharmonic.
  
  wn.com/Gustav_Mahler
• 
  Hans Gregor
  Hans Gregor (14 April 1866, Dresden – 13 August 1945, Wernigerode) was a German actor and arts administrator.
  Gregor directed several German-language theaters, including in Barmen-Elberfeld from 1898 to 1905. In Berlin, he led the Komische Oper as its director from 1905 to 1911. Gregor was noted as initiating the trend in opera productions where the stage director began to assert greater influence compared to the previous dominance of opera singers. In addition, the company provided a more naturalistic style of opera productions. He presided over several notable productions, including 19 premieres.
  From 1910 to 1918, he led the Vienna State Opera. There, he presided over such productions as the first Vienna performances of Der Rosenkavalier.
  Gregor wrote an autobiographical volume of recollections, Die Welt der Oper - Die Oper der Welt.
  
  
  
  wn.com/Hans_Gregor
• 
  Hans Knappertsbusch
  Hans Knappertsbusch (12 March 1888 – 25 October 1965) was a German conductor, best known for his performances of the music of Richard Wagner, Anton Bruckner and Richard Strauss.
  Knappertsbusch was born in Elberfeld, today's Wuppertal. He studied philosophy at Bonn University and conducting at the Cologne Conservatory with Fritz Steinbach. For a few summers, he assisted Siegfried Wagner and Hans Richter at Bayreuth. He began his career with conducting jobs in Elberfeld (1913-1918), Leipzig (1918-1919) and Dessau (1919-1922). When Bruno Walter left Munich for New York, Knappertsbusch succeeded him as General Music Director of the Bavarian State Orchestra and the Bavarian State Opera, with a lifelong contract. Knappertsbusch later refused to join the Nazi party.
  He incurred the wrath of Goebbels by asking a German diplomat in the Netherlands whether he was a "Muss-Nazi" (someone who was forced to join the Nazi Party for career reasons): as a result his Munich contract was revoked. Hitler himself was involved in the decision to dismiss him. In 1936 Sir Thomas Beecham invited him to Covent Garden to conduct but his permit to leave Germany was withheld. In the late 1930s he went to Vienna to conduct at the Wiener Staatsoper, thus ignoring the Nazis' policy of not allowing German artists to work in Austria. At the same time he became one of the emerging artists of the Salzburg Festival. Knappertsbusch continued to appear in Vienna and Salzburg during the German occupation of Austria.
  
  wn.com/Hans_Knappertsbusch
• 
  Hans von Bülow
  Hans Guido Freiherr von Bülow (January 8, 1830 – February 12, 1894) was a German conductor, virtuoso pianist, and composer of the Romantic era. He was one of the most famous conductors of the 19th century, and his activity was critical for establishing the successes of several major composers of the time, including Richard Wagner.
  Bülow was born in Dresden, and from the age of nine he was a student of Friedrich Wieck (the father of Clara Schumann). However, his parents insisted that he study law instead of music, and sent him to Leipzig. There he met Franz Liszt, and on hearing some music of Richard Wagner—specifically, the premiere of Lohengrin in 1850—he decided to ignore the dictates of his parents and make himself a career in music instead. He studied the piano in Leipzig with the famous pedagogue Louis Plaidy. He obtained his first conducting job in Zurich, on Wagner's recommendation, in 1850.
  Notoriously tactless, Bülow alienated many musicians with whom he worked. He was dismissed from his Zurich job for this reason, but at the same time he was beginning to win renown for his ability to conduct new and complex works without a score. In 1851 he became a student of Liszt, marrying Liszt's daughter Cosima in 1857. They had two daughters: Daniela, born in 1860 and Blandine, born in 1863. During the 1850s and early 1860s he was active as a pianist, conductor, and writer, and became well-known throughout Germany as well as Russia. In 1857 he premiered Liszt's great Piano Sonata in B minor in Berlin.
  
  wn.com/Hans_von_Bülow
• 
  Heinrich Karl Strohm
  Heinrich Karl Strohm (4 February 1895, Elberfeld – 9 June 1959 Köln) was a German opera manager of the Vienna Staatsoper.
  
  
  
  
  
  wn.com/Heinrich_Karl_Strohm
• Heinz Tietjen
  Heinz Tietjen (June 24, 1881 - November 30, 1967) was a German conductor and music producer born in Tangier, Morocco.
  At age twenty-three, he held the position of producer at the Opera House in Trier and was appointed its director in 1907, holding the dual roles until 1922. Simultaneously, he was the director at Saarbrücken and Breslau (now Wrocław, Poland) from 1919 to 1922.
  Tietjen was the director of the Deutsche Oper Berlin between 1925 and 1927, then director of the Prussian State Theatre. From 1931 to 1944, he served as artistic director at the Bayreuth Festspielhaus for Winifred Wagner with whom he had a romantic liaison.^{[citation needed]}
  In 1948 he returned to direct the Deutsche Oper Berlin, serving until 1955 when he was appointed manager and artistic director of the new Hamburg State Opera, a job he held until 1959.
  Heinz Tietjen died in 1967 in Baden-Baden. Heinz Tietjen was also a Nazi. His family is forbidding access tho this archives in Berlin so that his total involvement with Adolf Hitler is kept as much as possible sealed.
  
  wn.com/Heinz_Tietjen
• 
  Herbert von Karajan
  Herbert von Karajan (German pronunciation: [ˈhɛɐbɛɐt fɔn ˈkaʁaˌjan]; 5 April 1908 – 16 July 1989) was an Austrian orchestra and opera conductor. To the wider world he was perhaps most famously associated with the Berlin Philharmonic, of which he was principal conductor for 35 years. Although his work was not universally admired, he is generally considered to have been one of the greatest conductors of all time, and he was a dominant figure in European classical music from the 1960s until his death. Part of the reason for this was the large number of recordings he made and their prominence during his lifetime. By one estimate he was the top-selling classical music recording artist of all time, having sold an estimated 200 million records.
  The Karajans were of Greek Macedonian or Aromanian ancestry. His great-great-grandfather, Geòrgios Johannes Karajànnis, was born in Kozani, an Aromanian town in the Ottoman province of Rumelia (present West Macedonia in today's Greece), leaving for Vienna in 1767, and eventually Chemnitz, Saxony. He and his brother participated in the establishment of Saxony's cloth industry, and both were ennobled for their services by Frederick Augustus III on 1 June 1792, thus the prefix "von" to the family name. The surname Karajànnis became Karajan. Although traditional biographers ascribed a Serbian or simply a Slavic origin to his mother, Karajan's family from the maternal side, through his grandfather who was born in the village of Mojstrana, Duchy of Carniola (today in Slovenia), was Slovene. By this line, Karajan was related to Austrian composer of Slovene descent Hugo Wolf. Karajan seems to have known some Slovene.
  
  wn.com/Herbert_von_Karajan
• 
  Hermann Levi
  Hermann Levi (November 7, 1839 – May 13, 1900) was a German Jewish orchestral conductor.
  Levi was born in Gießen, Germany, the son of a rabbi. He was educated at Gießen and Mannheim, and came to Vinzenz Lachner's notice. From 1855 to 1858 Levi studied at the Leipzig conservatorium, and after a series of travels which took him to Paris, he obtained his first post as music director at Saarbrücken, which post he exchanged for that at Mannheim in 1861. From 1862 to 1864 he was chief conductor of the German opera in Rotterdam, then till 1872 at Karlsruhe, when he went to Munich, a post he held until 1896, when ill-health compelled him to resign. Levi also taught at the Leipzig Conservatory where one of his pupils was conductor Emil Steinbach.
  Levi's name is indissolubly connected with the increased public appreciation of Wagner's music. A longtime friend of Wagner, he conducted the first performance of Parsifal at Bayreuth in 1882, and was connected with the musical life of that place during the remainder of his career. He visited London in 1895, and died in Munich in 1900 and was interred in a Mausoleum in the grounds of his villa later that year in Garmisch-Partenkirchen.
  
  wn.com/Hermann_Levi
• Hermann Zumpe
  Hermann Zumpe (9 April 1850 in Taubenheim, Saxony – 4 September 1903 in Munich) was a German conductor and composer.
  Zumpe was educated at the teachers' Seminary at Bautzen, was a schoolmaster at Weigsdorf in 1870-71, from thence going to Leipzig, and playing the triangle in the Stadttheater there; he was one of those who helped Wagner in the preparation of the Ring at Bayreuth in the years 1873-70, and after this he conducted in the theatres of Salzburg, Würzburg, Magdeburg, Frankfurt, and Hamburg (in 1884-86). In 1891 he went to Stuttgart as Court Capellmeister, taking over the conductorship of the Society for Classical Church Music, in lieu of Faisst, who was ill. In 1895 he became conductor of the Kaim Concerts in Munich, and was made Court Capellmeister at Schwerinin 1897. He visited London to conduct the Wagner performances at Covent Garden in 1898. In 1900 he received the most important appointment of his career, that of Court-Capellmeister at Munich, directing what would later become the Bavarian State Opera. Here he was especially active in directing the famous Wagner performances at the Prinz Regenten Theater up to 1903, in which year, on Sept. 4, he died suddenly. Among his compositions were: a fairy opera, "Anhana" (Berlin, 1880), "Die verwunschene Prinzessin," operettas "Farinelli" (Hamburg, 1886), "Karin" (Hamburg, 1888), and "Polnische Wirtschaft" (Berlin, 1891). At his death the score of another opera, "Sawitri", was found incomplete, and was scored by Gustav von Roessler, and produced at Schwerin.
  
  wn.com/Hermann_Zumpe
• 
  Ioan Holender
  Ioan Holender (born Johann Hollaender^{[citation needed]}, Hebrew: יואן הולנדר‎, born 18 July 1935) is a Romanian born Austrian opera administrator.
  Holender was born in Timişoara, Romania. His family is of Jewish ancestry, and growing up, he spoke 3 languages. His father owned a factory in Timişoara, which was expropriated in 1948. Holender studied mechanical engineering at the Polytechnic University of Timişoara. He worked as a tennis coach and a director's assistant until he and his family emigrated to Austria, where his mother was residing. He intended to continue his engineering studies, but became interested in singing. After completing his music studies, he was an operatic baritone and concert singer with the Klagenfurt Stadttheater.
  In 1966, he began to work at the Starka theatrical agency, which he eventually took over and whose prestige he increased.
  In 1988, Eberhard Waechter named Holender as Secretary-General of the Vienna State Opera, effective as of 1991. There was controversy as this appointment, because of perceived conflicts of interest between this post and his prior association with his theatrical agency. Eventually, Holender dissociated himself from the Starka business. After Waechter's death in February 1992, Holender became Director of the Vienna State Opera on 1 April 1992. He also led the Vienna Volksoper for 4 years simultaneously. Holender's contract was extended three times and concluded on 31 August 2010. He is the longest-serving general director in the history of the Vienna State Opera.
  
  wn.com/Ioan_Holender
• 
  Johann von Herbeck
  Johann Ritter von Herbeck (25 December 1831 – 28 October 1877) was an Austrian musician, born in Vienna, best known for leading the premiere of Franz Schubert's "Unfinished" Symphony.
  He was practically a self-educated musician, but by hard work rose rapidly from the position of chorister to that of professor in the Vienna Conservatory. From 1859 to 1870 and again from 1873 to 1877 he conducted the concerts of the Gesellschaft der Musikfreunde, which under his energetic leadership became events of prime importance. In 1866 he was made chief court Kapellmeister and from 1871 to 1875 he was director of the Imperial Opera, resigning over intrigues and annoyances he could not tolerate.
  He was a great supporter of the music of Franz Schubert, and conducted the premiere of his "Unfinished" Symphony in 1865. In 1867 he conducted the first three movements of Brahms's A German Requiem. He also conducted the Viennese premiere of Wagner's Die Meistersinger von Nürnberg. He was fairly influential in local musical life for much of his career. He was responsible for Anton Bruckner's appointment in Vienna and was one of his most ardent supporters. Hector Berlioz described him as a first-rate conductor.
  
  wn.com/Johann_von_Herbeck
• 
  Johannes Eccard
  Johannes Eccard (1553–1611) was a German composer and kapellmeister. He was an early principal conductor at the Berlin court chapel.
  Eccard was born at Mühlhausen, Thuringia, Germany. At the age of eighteen he went to Munich, where he became the pupil of Orlando Lasso. In his company, Eccard is said to have visited Paris, but in 1574, he was again at Mühlhausen, where he resided for four years. There he, together with Johann von Burgk, edited his first master, a collection of sacred songs, called Crepundia sacra Helmboldi (1577). Soon afterwards he obtained an appointment as musician in the house of Jacob Fugger, the Augsburg banker.
  In 1583 he became assistant conductor, and in 1599 conductor at Königsberg to Georg Friedrich, Margrave of Brandenburg-Anspach, the administrator of the Duchy of Prussia. In 1608 he was called by Joachim Frederick, Elector of Brandenburg as principal conductor in Berlin, but this post he held only for three years, owing to his death at Königsberg in 1611.
  Eccard's works consist exclusively of vocal compositions, such as songs, sacred cantatas and chorales for four or five, and sometimes for seven, eight, or even nine voices. Their polyphonic structure is a marvel of art and still garners the admiration of musicians. At the same time his works are instinct with a spirit of true religious feeling. His setting of Martin Luther's words Ein feste Burg ist unser Gott (A Mighty Fortress Is Our God) is still regarded by the Germans as their representative national hymn.
  
  wn.com/Johannes_Eccard
• 
  Joseph Goebbels
   Dr. Paul Joseph Goebbels (help·info) (German: [ˈɡœbəls]; 29 October 1897 – 1 May 1945) was a German politician and Reich Minister of Propaganda in Nazi Germany from 1933 to 1945. As one of Adolf Hitler's closest associates and most devout followers, he was known for his zealous oratory and anti-Semitism.
  Goebbels earned a Ph.D. from Heidelberg University in 1921, writing his doctoral thesis on 19th century romantic drama; he then went on to work as a journalist and later a bank clerk and caller on the stock exchange. He also wrote novels and plays, but they were rejected by publishers. Goebbels came into contact with the National Socialist German Worker's Party (NSDAP) or Nazi Party in 1923 during the French occupation of the Ruhr and became a member in 1924. He was appointed Gauleiter (regional party leader) of Berlin. In this position, he put his propaganda skills to full use, combating the local socialist and communist parties with the help of Nazi papers and the paramilitary Sturmabteilung (Brownshirts). By 1928, he had risen in the party ranks to become one of its most prominent members.
  
  wn.com/Joseph_Goebbels
• 
  Joseph Keilberth
  Joseph Keilberth (April 19, 1908 – July 20, 1968) was a German conductor who specialized in opera.
  He started his career in the State Theatre of his native city, Karlsruhe. In 1940 he became director of the German Philharmonic Orchestra of Prague. Near the end of World War II he became principal conductor of the Dresden Staatskapelle. In 1949 he became chief conductor of the Bamberg Symphony, formed mainly of Germans expelled from post-war Czechoslovakia under the Beneš decrees. He died in Munich in 1968 after collapsing while conducting Wagner's opera Tristan und Isolde in exactly the same place as Felix Mottl had done in 1911.
  Keilberth made the first stereo recording of Wagner's Ring Cycle in 1955. Among his other recordings, his interpretations of Weber's Der Freischütz made in 1958 for EMI, and a 'live' set of Richard Strauss's Arabella (featuring Lisa Della Casa and Dietrich Fischer-Dieskau) made in 1963 for DG are still considered among the best versions. He conducted the TV-broadcast German-translation performance of The Barber of Seville, featuring Fritz Wunderlich, Hermann Prey, and Hans Hotter.
  
  wn.com/Joseph_Keilberth
• 
  Karl Böhm
  Karl August Leopold Böhm (August 28, 1894, Graz – August 14, 1981, Salzburg) was an Austrian conductor. He is widely considered to be one of the greatest symphonic and operatic conductors of the 20th century.
  The son of a lawyer, Karl Böhm studied law and earned a doctorate on this subject before entering the music conservatory in his home town of Graz, Austria. (His father was originally German-speaking Bohemian from Egerland, while his mother was from Alsace.) He later enrolled at the Vienna Conservatory, where he studied under Eusebius Mandyczewski, a friend of Johannes Brahms.
  In 1917 Karl Böhm became a rehearsal assistant in his home town, in 1919 the assistant director of music, and in 1920 the senior director of music. On the recommendation of Karl Muck, Bruno Walter engaged him at Munich's Bavarian State Opera in 1921. In 1927 he was appointed as chief musical director in Darmstadt. From 1931 to 1934 he fulfilled the same function at the Hamburg opera company and was appointed professor.
  
  wn.com/Karl_Böhm
• 
  Kent Nagano
  Kent George Nagano (born November 22, 1951) is an American conductor and opera administrator. He is currently the music director of the Orchestre Symphonique de Montréal and the Bavarian State Opera.
  Nagano was born in Berkeley, California, while his parents were in graduate school at the University of California, Berkeley. He grew up in Morro Bay, a city located on the Central Coast of California. He is Japanese American. He studied sociology and music at the University of California, Santa Cruz^{[citation needed]}. After graduation he moved to San Francisco State University to study music. While there, he took composition courses from Grosvenor Cooper and Roger Nixon. He also studied at the École Normale de Musique in Paris.
  His first conducting job was with the Opera Company of Boston, where he was assistant conductor to Sarah Caldwell. In 1978, he became the conductor of the Berkeley Symphony, his first music directorship. He stepped down from this position in 2009. During his tenure in Berkeley, Nagano became a champion of the music of Olivier Messiaen and initiated a correspondence with him.
  
  wn.com/Kent_Nagano
• 
  Kirsten Flagstad
  Kirsten Målfrid Flagstad (12 July 1895 – 7 December 1962) was a Norwegian opera singer and a highly regarded Wagnerian (dramatic) soprano. She ranks among the greatest singers of the 20th century; indeed, many opera critics called hers "the voice of the century." To quote Desmond Shawe-Taylor in New Grove Dictionary of Opera: "No one within living memory surpassed her in sheer beauty and consistency of line and tone."
  Flagstad was born in Hamar in her grandparents' home. Though she never actually lived in Hamar, she always considered it her home town. She was raised in Oslo within a musical family; her father was a conductor and her mother a pianist. She received her early musical training in Oslo and made her stage debut at the National Theatre in Oslo as Nuri in Eugen d'Albert's Tiefland in 1913. Her first recordings were made between 1913 and 1915.
  After further study in Stockholm with Dr. Gillis Bratt, she pursued a career in opera and operetta in Norway. In 1919, she married her first husband Sigurd Hall and a year later gave birth to her only child, a daughter, Else Marie Hall. Later that year she signed up with the newly created Opera Comique in Oslo, under the direction of Alexander Varnay and Benno Singer. Varnay was the father of the famous soprano Astrid Varnay. Her ability to learn roles quickly was noted, as it often took her only a few days to do so. She sang Desdemona opposite Leo Slezak, Minnie, Amelia and other lesser roles at the Opera Comique.
  
  wn.com/Kirsten_Flagstad
• 
  Leo Blech
  Leo Blech (21 April 1871 – 25 August 1958) was a German opera composer and conductor who is perhaps most famous for his work at the Königliches Schauspielhaus (later the Berlin State Opera (Staatsoper Unter den Linden) from 1906 to 1937, and later as the conductor of Berlin's Städtische Oper from 1949 to 1953. Blech was known for his reliable, clear, and elegant performances, especially of works by Wagner, Verdi, and Bizet's Carmen (which he conducted over 600 times), and for his sensitivity as an accompanist.
  Blech was born to a Jewish family in Aachen, Rhenish Prussia. After attending the Hochschule in Berlin where he studied piano with Ernst Rudorff and composition from Woldemar Bargiel he took private lessons with Engelbert Humperdinck.
  After working briefly in sales, Blech earned a position as conductor at the Stadttheater Aachen in 1893. From 1899 to 1906, he conducted at the Neues Deutsches Theater in Prague, before moving to the Königliches Schauspielhaus in Berlin. In 1913 he was promoted to General Music Director. Between 1923 and 1926, Blech took various positions at opera houses in Berlin and Vienna, including the Deutsches Opernhaus, the Volksoper Berlin, and the Vienna Volksoper. In 1926 he returned to the Schauspielhaus, now called the Staatsoper Unter den Linden, where he remained until Adolf Hitler's anti-semitic policies forced him in 1937 into exile in Riga, where he was conductor of the Latvian National Opera and Ballet Theatre.
  
  wn.com/Leo_Blech
• 
  Lorin Maazel
  Lorin Varencove Maazel (born March 6, 1930) is an American conductor, violinist and composer.
  Maazel was born to Jewish-American parents of Russian origin in Neuilly-sur-Seine, France and brought up in the United States, primarily at his parents' home in Pittsburgh's Oakland neighborhood. His father, Lincoln Maazel (1903–2009), was a singer, teacher of voice and piano, and an actor (he co-starred in George A. Romero's 1977 horror movie Martin); and his mother, Marion "Marie" Shulman Maazel (1894–1992), founded the Pittsburgh Youth Symphony Orchestra. His grandfather Isaac was a violinist in the Metropolitan Opera Orchestra for twenty years. Both Lincoln and Marie gave interviews for the Oral History Collection at the University of Pittsburgh, Lincoln’s in 1994, and Marie’s in 1974. These can be heard online.
  Lorin Maazel was a child prodigy, taking his first conducting lesson at age seven with Vladimir Bakaleinikov and making his debut at age eight. At the age of eleven, he guest conducted the NBC Symphony Orchestra on the radio. At twelve he toured America to conduct major orchestras. He made his violin debut at the age of fifteen. He later studied at the University of Pittsburgh.
  
  wn.com/Lorin_Maazel
• 
  Lothar Müthel
  Lothar Max Müthel (Lothar Max Lütcke) (18 February 1896 – 4 September 1964) was a German stage and film actor and director.
  Müthel was born in Berlin, Germany where he attended the acting school of Max Reinhardt, Schauspielschule, Berlin.
  Following the Anchluss of Austria to Nazi Germany, Müthel was appointed as director of the Burgtheater in Vienna. He held that position from 1939 until the fall of the Nazi regime in 1945. Under his directorship in 1943, a notoriously extreme production of The Merchant of Venice was staged at the Burgtheater, with Werner Krauss as Shylock.
  Müthel died in Frankfurt am Main at age 68.
  
  wn.com/Lothar_Müthel
• 
  Ludwig van Beethoven
  Ludwig van Beethoven (ⁱ/ˈlʊdvɪɡ væn ˈbeɪt.hoʊvən/; German pronunciation: [ˈluːtvɪç fan ˈbeːt.hoːfən] ( listen); baptized 17 December 1770 – 26 March 1827) was a German composer and pianist. A crucial figure in the transition between the Classical and Romantic eras in Western art music, he remains one of the most famous and influential of all composers.
  Born in Bonn, then the capital of the Electorate of Cologne and part of the Holy Roman Empire, Beethoven moved to Vienna in his early 20s, studying with Joseph Haydn and quickly gaining a reputation as a virtuoso pianist. His hearing began to deteriorate in his late twenties, yet he continued to compose, conduct, and perform, even after becoming completely deaf.
  Beethoven was the grandson of a musician of Flemish origin named Lodewijk van Beethoven (1712–73) who moved at the age of twenty to Bonn. Lodewijk (Ludwig is the German cognate of Dutch Lodewijk) was employed as a bass singer at the court of the Elector of Cologne, eventually rising to become Kapellmeister (music director). Lodewijk had one son, Johann (1740–1792), who worked as a tenor in the same musical establishment, and gave lessons on piano and violin to supplement his income. Johann married Maria Magdalena Keverich in 1767; she was the daughter of Johann Heinrich Keverich, who had been the head chef at the court of the Archbishopric of Trier.
  
  wn.com/Ludwig_van_Beethoven
• 
  Maurice Ravel
  Joseph-Maurice Ravel (March 7, 1875 – December 28, 1937) was a French composer known especially for his melodies, orchestral and instrumental textures and effects. Much of his piano music, chamber music, vocal music and orchestral music has entered the standard concert repertoire.
  Ravel's piano compositions, such as Jeux d'eau, Miroirs, Le tombeau de Couperin and Gaspard de la nuit, demand considerable virtuosity from the performer, and his orchestral music, including Daphnis et Chloé and his arrangement of Modest Mussorgsky's Pictures at an Exhibition, uses a variety of sound and instrumentation.
  Ravel is perhaps known best for his orchestral work Boléro (1928), which he considered trivial and once described as "a piece for orchestra without music".
  According to SACEM, Ravel's estate earns more royalties than that of any other French composer. According to the law of most countries (including all members of the World Trade Organization), Ravel's works have been in the public domain since January 1, 2008, in most countries.
  
  wn.com/Maurice_Ravel
• 
  Max Liebermann
  Max Liebermann (July 20, 1847 – February 8, 1935) was a German-Jewish painter and printmaker, and one of the leading proponents of Impressionism in Germany.
  The son of a Jewish businessman from Berlin, Liebermann first studied law and philosophy at the University of Berlin, but later studied painting and drawing in Weimar in 1869, in Paris in 1872, and in the Netherlands in 1876–77. During the Franco-Prussian War (1870–71), Liebermann served as a medic with the Order of St. John near Metz. After living and working for some time in Munich, he finally returned to Berlin in 1884, where he remained for the rest of his life. He was married in 1884 to Martha Marckwald (1857–1943, see portrait by Anders Zorn).
  He used his own inherited wealth to assemble an impressive collection of French Impressionist works. He later chose scenes of the bourgeoisie, as well as aspects of his garden near Lake Wannsee, as motifs for his paintings. In Berlin, he became a famous painter of portraits; his work is especially close in spirit to Édouard Manet.
  
  wn.com/Max_Liebermann
• Norman Del Mar
  Norman Del Mar CBE (31 July 1919 – 6 February 1994) was a British conductor, horn player, and biographer. As a conductor, he specialized in the music of late romantic composers; including Edward Elgar, Gustav Mahler, and Richard Strauss. He left a great legacy of recordings of British music, in particular Elgar, Vaughan Williams, Delius, and Britten. He notably conducted the premiere recording of Britten's children's opera Noye's Fludde.
  Born in Hampstead, London, Del Mar began his career as a horn player. He was one of the original members of the Royal Philharmonic Orchestra (RPO) which was established by Sir Thomas Beecham in 1946. Within the first few months of the RPO's existence, Beecham appointed Del Mar as his assistant conductor. Del Mar made his professional debut as a conductor with the RPO in 1947.
  In 1949 Del Mar was appointed principal conductor of the English Opera Group, in which post he remained until 1954. In 1952 he conducted the BBC Symphony Orchestra in the world premiere of Franz Reizenstein's radio opera Anna Kraus. He then held chief conducting posts with the Yorkshire Symphony Orchestra (1954) the BBC Scottish Symphony Orchestra (1960–1965), and the Aarhus Symphony Orchestra (1985–1988). A regular at the BBC Proms concerts, he conducted the famous Last Night on three occasions, 1973, 1975, and 1983. He was also 'permanent guest conductor' with the Göteborg Symphony Orchestra from 1969-1973.
  
  wn.com/Norman_Del_Mar
• 
  Oscar Wilde
  Oscar Fingal O'Flahertie Wills Wilde (16 October 1854 – 30 November 1900) was an Irish writer and poet. After writing in different forms throughout the 1880s, he became one of London's most popular playwrights in the early 1890s. Today he is remembered for his epigrams, plays and the circumstances of his imprisonment, followed by his early death.
  Wilde's parents were successful Dublin intellectuals. Their son became fluent in French and German early in life. At university Wilde read Greats; he proved himself to be an outstanding classicist, first at Dublin, then at Oxford. He became known for his involvement in the rising philosophy of aestheticism, led by two of his tutors, Walter Pater and John Ruskin. After university, Wilde moved to London into fashionable cultural and social circles. As a spokesman for aestheticism, he tried his hand at various literary activities: he published a book of poems, lectured in the United States of America and Canada on the new "English Renaissance in Art", and then returned to London where he worked prolifically as a journalist. Known for his biting wit, flamboyant dress, and glittering conversation, Wilde had become one of the most well-known personalities of his day.
  
  wn.com/Oscar_Wilde
• Otmar Suitner
  Otmar Suitner (15 May 1922 – 8 January 2010) was an Austrian conductor who spent most of his professional career in East Germany. He was born in Innsbruck and died in Berlin. He was Principal Conductor of the Staatskapelle Dresden from 1960 to 1964, and then Music Director at the Berlin State Opera from 1964 to 1990. A fairly prolific recording artist, he was particularly notable in Austro-German music, having conducted discs of works by Max Reger and Paul Hindemith as well as the first Beethoven symphony cycle to be released on CD. He taught at the Mozarteum for twenty years. With a girlfriend, Suitner had one son called Igor and he produced a documentary about his father in Suitner's later years called The Music of My Father.
  
  wn.com/Otmar_Suitner
• 
  Otto Nicolai
  Carl Otto Ehrenfried Nicolai (9 June 1810 – 11 May 1849) was a German composer, conductor, and founder of the Vienna Philharmonic. Nicolai is best known for his operatic version of Shakespeare's comedy The Merry Wives of Windsor (Die lustigen Weiber von Windsor). In addition to five operas, Nicolai composed lieder, works for orchestra, chorus, ensemble, and solo instruments.
  Nicolai, a child prodigy, was born in Königsberg, Prussia. He received his first musical education from his father, himself a composer and musical director, Carl Ernst Daniel Nicolai. During his childhood his parents divorced, and while still a youth, early in June 1826, Nicolai ran away from his parents' "loveless" home, taking refuge in Stargard with a senior legal official called August Adler who treated the musical prodigy like a son and, when Nikolai was seventeen, sent him to Berlin to study with Carl Friedrich Zelter.
  After initial successes in Germany, including his first Symphony (1831) and public concerts, he became musician to the Prussian Embassy in Rome. During the early 1840s he established himself as a major figure in the concert life of Vienna. In 1844 he was offered the position, vacated by Felix Mendelssohn, of Kapellmeister at the Berlin Cathedral; but he did not reestablish himself in Berlin until the last year of his life. On 11 May 1849, two months after the premiere of The Merry Wives of Windsor, and only two days after his appointment as Hofkapellmeister at the Berlin Staatsoper, he collapsed and died from a stroke. On the very same day of his death, he was elected a member of the Royal Prussian Academy of Arts.
  
  wn.com/Otto_Nicolai
• 
  Paul Wittgenstein
  Paul Wittgenstein (November 5, 1887 – March 3, 1961) was an Austrian-born concert pianist who became known for commissioning new piano concerti for the left hand alone, following the amputation of his right arm during the First World War. He devised novel techniques, including pedal and hand-movement combinations, that allowed him to play chords previously regarded as impossible for a five-fingered pianist.
  He was the brother of the philosopher Ludwig Wittgenstein.
  Wittgenstein was born in Vienna, the son of the industrialist Karl Wittgenstein. His brother Ludwig was born two years later. The household was frequently visited by prominent cultural figures, among them the composers Johannes Brahms, Gustav Mahler, Josef Labor, and Richard Strauss, with whom the young Paul played duets. His grandmother, Fanny Wittgenstein, was a first cousin of the violinist Joseph Joachim, whom she adopted and took to Leipzig to study with Felix Mendelssohn.
  He studied with Malvine Brée and later with a much better known figure, the Polish virtuoso Theodor Leschetizky. He made his public début in 1913, garnering favourable reviews. The following year, however, World War I broke out, and he was called up for military service. He was shot in the elbow and captured by the Russians during an assault on Poland, and his right arm had to be amputated.
  
  wn.com/Paul_Wittgenstein
• 
  Pauline de Ahna
  Pauline Maria de Ahna (4 February 1863 – 13 May 1950) was a German operatic soprano. She is best remembered today as the wife of composer Richard Strauss, who wrote several of his works for her.
  De Ahna was born in Ingolstadt, the daughter of General Adolf de Ahna. She is best known as the wife of Richard Strauss, whom she married on 10 September 1894. He wrote many operatic roles for her, such as Freihild in Guntram.
  De Ahna was famous for being bossy, snobbish, ill-tempered, eccentric, and outspoken, but the marriage was happy, and she was a great source of inspiration to her husband in works up to and including the Four Last Songs. In particular, Strauss portrayed de Ahna both as the hero's companion in A Hero's Life and in several sections of Symphonia Domestica.
  She was also the subject of the one-woman show Die Frau im Schatten by Dame Gwyneth Jones.
  De Ahna outlived her husband, but only by eight months, dying in Garmisch-Partenkirchen in May 1950.
  
  wn.com/Pauline_de_Ahna
• 
  Peter Cornelius
  Carl August Peter Cornelius (24 December 1824 – 26 October 1874) was a German composer, writer about music, poet and translator.
  He was born in Mainz.
  Cornelius played violin and composed lieder from an early age, studying with Tekla Griebel-Wandall and composition with Heinrich Esser in 1841. Cornelius lived with his painter uncle Peter von Cornelius in Berlin from 1844 to 1852, during which time he met prominent figures such as Alexander von Humboldt, the Brothers Grimm, Friedrich Rückert and Felix Mendelssohn.
  Cornelius's first mature works (including the opera Der Barbier von Bagdad) were composed during his brief stay in Weimar (1852–1858). His next place of residence was Vienna, where he stayed for five years. It was in Vienna that Cornelius began a friendship with Richard Wagner. It was at Wagner's behest that Cornelius moved to Munich in 1864, where he finally took a wife and fathered four children.
  Among many British musicians, his best known work is The Three Kings, an Epiphany anthem of which a version is included in the first volume of the popular Willcocks and Jacques compilation Carols for Choirs.
  
  wn.com/Peter_Cornelius
• 
  Richard Strauss
  Richard Georg Strauss (11 June 1864 – 8 September 1949) was a leading German composer of the late Romantic and early modern eras. He is known for his operas, which include Der Rosenkavalier and Salome; his Lieder, especially his Four Last Songs; and his tone poems and other orchestral works, such as Death and Transfiguration, Till Eulenspiegel's Merry Pranks, Also sprach Zarathustra, An Alpine Symphony, and Metamorphosen. Strauss was also a prominent conductor throughout Germany and Austria.
  Strauss, along with Gustav Mahler, represents the late flowering of German Romanticism after Richard Wagner, in which pioneering subtleties of orchestration are combined with an advanced harmonic style.
  Strauss was born on 11 June 1864, in Munich, the son of Franz Strauss, who was the principal horn player at the Court Opera in Munich. In his youth, he received a thorough musical education from his father. He wrote his first composition at the age of six, and continued to write music almost until his death.
  
  wn.com/Richard_Strauss
• 
  Richard Wagner
  Wilhelm Richard Wagner ( /ˈvɑːɡnər/; German pronunciation: [ˈʁiçaʁt ˈvaːɡnɐ]; 22 May 1813 – 13 February 1883) was a German composer, conductor, theatre director and polemicist primarily known for his operas (or "music dramas", as he later called them). Wagner's compositions, particularly those of his later period, are notable for their complex texture, rich harmonies and orchestration, and the elaborate use of leitmotifs: musical themes associated with individual characters, places, ideas or plot elements. Unlike most other opera composers, Wagner wrote both the music and libretto for every one of his stage works. Perhaps the two best-known extracts from his works are the Ride of the Valkyries from the opera Die Walküre, and the Wedding March (Bridal Chorus) from the opera Lohengrin.
  Initially establishing his reputation as a composer of works such as The Flying Dutchman and Tannhäuser which were broadly in the romantic vein of Weber and Meyerbeer, Wagner transformed operatic thought through his concept of the Gesamtkunstwerk ("total work of art"). This would achieve the synthesis of all the poetic, visual, musical and dramatic arts and was announced in a series of essays between 1849 and 1852. Wagner realized this concept most fully in the first half of the monumental four-opera cycle Der Ring des Nibelungen. However, his thoughts on the relative importance of music and drama were to change again, and he reintroduced some traditional operatic forms into his last few stage works, including Die Meistersinger von Nürnberg.
  
  wn.com/Richard_Wagner
• 
  Robert Schumann
  Robert Schumann, sometimes known as Robert Alexander Schumann, (8 June 1810 – 29 July 1856) was a German composer, aesthete and influential music critic. He is regarded as one of the greatest and most representative composers of the Romantic era. Schumann left the study of law to return to music, intending to pursue a career as a virtuoso pianist. He had been assured by his teacher Friedrich Wieck that he could become the finest pianist in Europe, but a hand injury ended this dream. Schumann then focused his musical energies on composing.
  Schumann's published compositions were written exclusively for the piano until 1840; he later composed works for piano and orchestra; many Lieder (songs for voice and piano); four symphonies; an opera; and other orchestral, choral, and chamber works. Works such as Kinderszenen, Album für die Jugend, Blumenstück and Albumblätter are among his most famous. His writings about music appeared mostly in the Neue Zeitschrift für Musik (New Journal for Music), a Leipzig-based publication which he jointly founded.
  
  wn.com/Robert_Schumann
• 
  Rudolf Gamsjäger
  Rudolf Gamsjäger (23 March 1909, Vienna, Austria – 28 January 1985, Vienna, Austria), was an Austrian opera administrator. He served as general director of the Vienna State Opera from 1972 to 1976.
  Gamsjäger's curriculum vitae includes work as a chemist, music manager, general secretary of Gesellschaft der Musikfreunde, president of Musikalischen Jugend Österreichs (Musical Youth of Austria) and Jeunesses Musicales International.
  Rudolf Gamsjäger in the Aeiou Encyclopedia (German)
  
  
  
  
  
  wn.com/Rudolf_Gamsjäger
• Rudolf Kempe
  Rudolf Kempe (born 14 June 1910 in Dresden, died 12 May 1976 in Zürich) was a German conductor.
  Kempe was born in Dresden, where from the age of fourteen he studied at the Dresden State Opera School. He played oboe in the opera orchestra of Dortmund and then in the Leipzig Gewandhaus orchestra, from 1929. In addition to oboe, he played the piano regularly, as a soloist, in chamber music or accompanying, as a result of which, in 1933, the new Director of the Leipzig Opera invited Kempe to become a répétiteur, and later a conductor, for the opera.
  During the Second World War Kempe was conscripted into the army, but instead of active service was directed into musical activities, playing for the troops and later taking over the chief conductorship of the Chemnitz opera house.
  Kempe directed the Dresden Opera and the Dresden Staatskapelle from 1949 to 1952, making his first records, including Der Rosenkavalier, Die Meistersinger and Der Freischütz. ‘He obtains some superlative playing from the Dresden orchestra,’ commented The Record Guide. He maintained a relationship with the Dresden orchestra for the rest of his life, making some of his best-known records with them during the stereo era.
  
  wn.com/Rudolf_Kempe
• 
  Stefan Zweig
  Stefan Zweig (November 28, 1881 – February 22, 1942) was an Austrian novelist, playwright, journalist and biographer. At the height of his literary career, in the 1920s and 1930s, he was one of the most famous writers in the world.
  Zweig was the son of Moritz Zweig (1845–1926), a wealthy Jewish textile manufacturer, and Ida Brettauer (1854–1938), from a Jewish banking family. Joseph Brettauer did business for twenty years in Ancona, Italy, where his second daughter Ida was born and grew up, too. Zweig studied philosophy at the University of Vienna and in 1904 earned a doctoral degree with a thesis on "The Philosophy of Hippolyte Taine". Religion did not play a central role in his education. "My mother and father were Jewish only through accident of birth", Zweig said later in an interview. Yet he did not renounce his Jewish faith and wrote repeatedly on Jews and Jewish themes, as in his story "Buchmendel". Although his essays were published in the Neue Freie Presse, whose literary editor was the Zionist leader Theodor Herzl, Zweig was not attracted to Herzl's Jewish nationalism, nor did the publication review Herzl's Der Judenstaat. Zweig himself called Herzl's book an "obtuse text, [a] piece of nonsense", but this was perhaps due, as Amos Elon notes, to the level of comfortable assimilation enjoyed by Viennese Jews at the time.
  
  wn.com/Stefan_Zweig
• Wikipedia Persondata
  wn.com/Wikipedia_Persondata
• 
  Wilhelm Jahn
  Wilhelm Jahn (24 November 1835, Dvorce u Bruntálu, Moravia – 21 April 1900, Vienna) was an Austro-Hungarian conductor. He served as director of the Vienna Court Opera from 1880 to 1897 and principal conductor of the Vienna Philharmonic Orchestra from 1882 to 1883. He gave the partial premiere of Bruckner's Symphony No. 6, performing the middle two movements in 1883.
  
  
  
  wn.com/Wilhelm_Jahn
• William Brade
  William Brade (1560 – 26 February 1630) was an English composer, violinist, and viol player of the late Renaissance and early Baroque eras, mainly active in northern Germany. He was the first Englishman to write a canzona, an Italian form, and probably the first to write a piece for solo violin.
  Little is known about his early life. Around 1590 he left England to pursue a musical career in Germany, as did several other prominent English musicians, sensing better job opportunities abroad. He switched employments often between the various courts in north Germany and Denmark. Between his arrival in Germany, sometime around 1590, and 1594 he worked for the Brandenburg court; between 1594 and 1596 he worked for Christian IV of Denmark in Copenhagen; then until 1599 he was back in Brandenburg. He returned that year to Copenhagen, where he stayed until 1606. From 1606 to 1608 he worked at Bückeburg in Brunswick-Lüneburg. From 1608 to 1610 he was employed in Hamburg, but he returned to Bückeburg in 1610. Evidently by 1612 he was again planning on switching jobs, for a letter surviving from that year, written by the count at Bückeburg, tells the Hamburg court pithily that he was a "wanton, mischievous fellow" and should not be allowed to have his way.
  
  wn.com/William_Brade
• Wolfgang Sawallisch
  Wolfgang Sawallisch (German: [ˈvɔlfɡaŋ zaˈvalɪʃ]; born 26 August 1923) is a retired German conductor and pianist.
  Sawallisch was born in Munich, and studied composition and pianoforte there privately: at the conclusion of the war, in 1946 he continued his studies at the Munich High School for Music and passed his final examination for conducting. He began his career at the opera house in Augsburg in 1947. There he became first coach and later principal conductor: in 1952–53 he was personal assistant to Igor Markevitch at the International Summer Academy Mozarteum, Salzburg.
  When he debuted at the Bayreuth Festspielhaus conducting Tristan und Isolde in 1957, he was the youngest conductor ever to appear there.
  From 1960 to 1970 he was Principal Conductor of the Vienna Symphony. From 1971 to 1992, Sawallisch was Music Director of the Bavarian State Opera, and for several years from 1983, concurrently was the general manager of the company.
  From 1993 to 2003 he was Music Director of the Philadelphia Orchestra, and is currently its Conductor Laureate. He is also Honorary Conductor Laureate of the NHK Symphony Orchestra, Tokyo. He was the recipient of a Suntory Music Award in 1993.
  
  wn.com/Wolfgang_Sawallisch
• 
  Zubin Mehta
  Zubin Mehta (ज़ुबिन मेहता); pronounced [ˈzuːbɪn ˈmeːɦt̪aː] (born 29 April 1936) is an Indian conductor of western classical music. He is the Music Director for Life of the Israel Philharmonic Orchestra.
  Zubin Mehta was born into a Parsi family in Bombay, British India, the son of Mehli and Tehmina Mehta. His father Mehli Mehta was a violinist and founding conductor of the Bombay Symphony Orchestra. Mehta is an alumnus of St. Mary's School, Mumbai, and St. Xavier's College, Mumbai. Mehta initially intended to study medicine, but eventually became a music student in Vienna at the age of 18, under Hans Swarowsky. Also at the same academy along with Mehta were conductor Claudio Abbado and conductor–pianist Daniel Barenboim.
  Mehta's first marriage was to Canadian soprano Carmen Lasky in 1958. They have a son, Mervon and a daughter, Zarina. In 1964, they divorced. Two years after the divorce, Carmen married Zubin's brother, Zarin Mehta, now the Executive Director of the New York Philharmonic. In July 1969, Mehta married Nancy Kovack, a former American film and television actress. Mehta is a permanent resident of the United States, but retains his Indian citizenship.
  
  wn.com/Zubin_Mehta

• Der Rosenkavalier, Op. 59: Overture
• Der Rosenkavalier, Op. 59: Act I - Awakenng scene (Octavian, Marschallin)
• Der Rosenkavalier, Op. 59: Act I - Parting scene (The Marschallin's monologue and duet)
• Der Rosenkavalier, Op. 59: Act II - Presentation of the Silver Rose (Sophie and Octavian)
• Der Rosenkavalier, Op. 59: Act III - The Marschallin's meeting with Sophie
• Der Rosenkavalier, Op. 59: Act III - Final duet

• Symphony, No. 2 in, D major, Op. 73: I. Allegro non troppo
• Symphony, No. 2 in, D major, Op. 73: II. Adagio non troppo
• Symphony, No. 2 in, D major, Op. 73: III. Allegretto grazioso (Quasi andantino)
• Symphony, No. 2 in, D major, Op. 73: IV. Allegro con spirito
• Maurerische trauermusik (Masonic funeral music), for orchestra in C minor, KV 477 (K. 479a)
• Metamorphosen, study for 23 solo strings, o.Op. 142 (Trv 290, AV 142)

• Elektra, Op. 58: Elektra’s Soliloquy “Allein! Weh, ganz allein”
• Elektra, Op. 58: Recognition Scene “Was willst du, fremder Mensch?”
• Elektra, Op. 58: Finale “Elektra! Schwester! Kommmit uns!”
• Salome, Op. 54: Dance of the Seven Veils
• Salome, Op. 54: Final Scene “Ah! Du wolltest mich nicht deinen Mund”

• Deutsche Motette, op. 62
• Traumlicht, op. 123 nr. 2
• Zwei Gesänge, op. 34: Der Abend
• Zwei Gesänge, op. 34: Hymne

• Capriccio, Op. 85 - Einleitung
• Capriccio, Op. 85 - 1. Szene: Bezaubernd ist sie heute wieder!
• Capriccio, Op. 85 - 1. Szene: Bei sanfter Musik schläft sich's am besten
• Capriccio, Op. 85 - 2. Szene: Der Strom der Töne trug mich fort
• Capriccio, Op. 85 - 3. Szene: Die Bühne ist fertig
• Capriccio, Op. 85 - 4. Szene: Sie ist doch gekommen! Du hast es erreicht
• Capriccio, Op. 85 - 4. Szene: Ihr geht. Entließ Euch schon die Macht
• Capriccio, Op. 85 - 4. Szene: Kein andres, das mir so im Herzen loht
• Capriccio, Op. 85 - 5. Szene: Lassen Sie ihn gewähren
• Capriccio, Op. 85 - 6. Szene: Kein andres, das mir so im Herzen loht
• Capriccio, Op. 85 - 6. Szene: Wie schön die Worte, kaum kenn' ich sie wieder!
• Capriccio, Op. 85 - 7. Szene: Verraten hab' ich meine Gefühle!
• Capriccio, Op. 85 - 7. Szene: Sie erzählten beredsam von Eurem Empfinden
• Capriccio, Op. 85 - 8. Szene: Welch' köstliche Begegnung!
• Capriccio, Op. 85 - 9. Szene: Wir kehren zurück in die Welt des Salons
• Capriccio, Op. 85 - 9. Szene: I. Tanz: Passepied (Was sagt Ihr?)
• Capriccio, Op. 85 - 9. Szene: II. Tanz: Gigue (Ich bin fest entschlossen, auf keinen Fall mehr)
• Capriccio, Op. 85 - 9. Szene: III. Tanz: Gavotte

• Der Rosenkavalier: Act I. Introduction
• Der Rosenkavalier: Act I. “How are were! How you are!” (Octavian, Marschallin)
• Der Rosenkavalier: Act I. “Ah, there he goes…” (Marschallin, Octavian)
• Der Rosenkavalier: Act I. “Ah! You are back again!” (Marschallin, Octavian)
• Der Rosenkavalier: Act I. “For time is a mysterious thing” (Marschallin, Octavian)
• Der Rosenkavalier: Act I. “My dearest love, why do you torture yourself” (Marschallin, Octavian)
• Der Rosenkavalier: Act I. “I'll go now, go to church, and pray” (Marschallin, Octavian)
• Der Rosenkavalier: Act II. Introduction “A solemn day, a wondrous day” (Faninal, Marianne, Major-Domo)
• Der Rosenkavalier: Act II. “In this most wonderful and serious moment” (Sophie, Marianne, Footmen)
• Der Rosenkavalier: Act II. “It is an honour, an enchantment” (Octavian, Sophie)
• Der Rosenkavalier: Act II. “Here I am” (Ochs, Servants, Annina)
• Der Rosenkavalier: Act II. “Here” (Ochs, Annina)
• Der Rosenkavalier: Act III. “Leupold, let’s go” (Ochs, Annina, Children, Waiters, Landlord, Valzacchi, Musicians, Coachmen, Boots)
• Der Rosenkavalier: Act III. “Oh God! The story was a masquerade and no more” (Sophie, Octavian, Marschallin)
• Der Rosenkavalier: Act III. “Now or tomorrow; if not tomorrow, very soon” (Marschallin, Sophie, Octavian)
• Der Rosenkavalier: Act III. “Marie Theres’, how good you are” (Octavian, Marschallin, Sophie)
• Der Rosenkavalier: Act III. “Bliss is too deep to understand” (Octavian, Sophie, Faninal, Marschallin)
• Der Rosenkavalier: Act III. “Bliss is too deep to understand” (Octavian, Sophie)

• The Hero
• The Hero's Adversaries
• The Hero's Companion
• The Hero's Battlefield
• The Hero's Works of Peace
• The Hero's Retreat from the World and Fulfillment

• Eine Alpensinfonie, Op. 64: Nacht (Night)
• Eine Alpensinfonie, Op. 64: Sonnenaufgang (Sunrise)
• Eine Alpensinfonie, Op. 64: Der Anstieg (The Ascent)
• Eine Alpensinfonie, Op. 64: Eintritt in den Wald (Entry Into the Wood): Wanderung neben dem Bache (Wandering by the Stream)
• Eine Alpensinfonie, Op. 64: Am Wasserfall (At the Waterfall): Erscheinung (Apparition)
• Eine Alpensinfonie, Op. 64: Auf blumigen Wiesen (On Flowering Meadows)
• Eine Alpensinfonie, Op. 64: Auf der Alm (On the Alpine Pasture)
• Eine Alpensinfonie, Op. 64: Durch Dickicht und Gestrüp auf Irrwegen (Straying Through Thicket and Undergrowth)
• Eine Alpensinfonie, Op. 64: Auf dem Gletscher (On the Glacier)
• Eine Alpensinfonie, Op. 64: Grefahrvolle Augenblicke (Dangerous Moments)
• Eine Alpensinfonie, Op. 64: Auf dem Gipfel (On the Summit)
• Eine Alpensinfonie, Op. 64: Vision
• Eine Alpensinfonie, Op. 64: Nebel steigt auf (Mists Rise)
• Eine Alpensinfonie, Op. 64: Die Sonne verdüstert sich allmählich (The Sun Gradually Darkens)
• Eine Alpensinfonie, Op. 64: Elegie (Elegy)
• Eine Alpensinfonie, Op. 64: Stille vor der Sturme (Calm Before the Storm)
• Eine Alpensinfonie, Op. 64: Gewitter und Sturm, Abstieg (Thunder and Storm, Descent)
• Eine Alpensinfonie, Op. 64: Sonnenuntergang (Sunset)
• Eine Alpensinfonie, Op. 64: Ausklang (Final Sounds)
• Eine Alpensinfonie, Op. 64: Nacht (Night)
• Vier letzte Lieder, AV 150: Nr. 1, Frühling
• Vier letzte Lieder, AV 150: Nr. 2, September
• Vier letzte Lieder, AV 150: Nr. 3, Beim Schlafengehen
• Vier letzte Lieder, AV 150: Nr. 4, Im Abendrot

• Four Last Songs: Frühling
• Four Last Songs: September
• Four Last Songs: Beim Schlafengehen
• Four Last Songs: Im Abendrot
• Piano Concerto No.20 in D minor K466: I. Allegro
• Piano Concerto No.20 in D minor K466: II. Romance
• Piano Concerto No.20 in D minor K466: III. Allegro assai
• Romeo and Juliet: Montagues and Capulets
• Romeo and Juliet: Romeo and Juliet before parting
• Romeo and Juliet: Aubade
• Romeo and Juliet: Dance of the Antilles Girls
• Romeo and Juliet: Death of Tybalt

• Salome: "Wie schön ist die Prinzessin Salome heute Nacht!"
• Salome: "Nach mir wird einer kommen"
• Salome: "Ich will nicht bleiben"
• Salome: "Siehe, der Herr ist gekommen"
• Salome: "Wie schwarz es da drunten ist!"
• Salome: "Wo ist er, dessen Sündenbecher jetzt voll ist?"
• Salome: "Seine Augen sind von allem das Schrecklichste"
• Salome: "Ich bin verliebt in deinen Leib, Jochanaan"
• Salome: "Zurück, Tochter Babylons!"
• Salome: "Zurück, Tochter Sodoms!"
• Salome: "Ich will deinen Mund küssen, Jochanaan"
• Salome: "Laß mich deinen Mund küssen, Jochanaan"
• Salome: "Wo ist Salome? Wo ist die Prinzessin?"
• Salome: "Es ist kalt hier. Es weht ein Wind"
• Salome: "Salome, komm, trink Wein mit mir"
• Salome: "Siehe, die Zeit ist gekommen"
• Salome: "Der Messias ist gekommen"

• Requiem in D minor, K. 626 (Franz Xaver Süssmayer completion): I. Introitus: Requiem
• Requiem in D minor, K. 626 (Franz Xaver Süssmayer completion): II. Kyrie
• Requiem in D minor, K. 626 (Franz Xaver Süssmayer completion): III. Sequentia: Dies irae
• Requiem in D minor, K. 626 (Franz Xaver Süssmayer completion): III. Sequentia: Tuba mirum
• Requiem in D minor, K. 626 (Franz Xaver Süssmayer completion): III. Sequentia: Rex tremendae
• Requiem in D minor, K. 626 (Franz Xaver Süssmayer completion): III. Sequentia: Recordare
• Requiem in D minor, K. 626 (Franz Xaver Süssmayer completion): III. Sequentia: Confutatis
• Requiem in D minor, K. 626 (Franz Xaver Süssmayer completion): III. Sequentia: Lacrimosa
• Requiem in D minor, K. 626 (Franz Xaver Süssmayer completion): IV. Offertorium: Domine Jesu
• Requiem in D minor, K. 626 (Franz Xaver Süssmayer completion): IV. Offertorium: Hostias
• Requiem in D minor, K. 626 (Franz Xaver Süssmayer completion): V. Sanctus
• Requiem in D minor, K. 626 (Franz Xaver Süssmayer completion): VI. Benedictus
• Requiem in D minor, K. 626 (Franz Xaver Süssmayer completion): VII. Agnus Dei
• Requiem in D minor, K. 626 (Franz Xaver Süssmayer completion): VIII.Communio: Lux aeterna
• Symphony No. 26 in E-flat major, K. 184: I. Molto presto
• Symphony No. 26 in E-flat major, K. 184: II. Andante
• Symphony No. 26 in E-flat major, K. 184: III. Allegro
• Symphony No. 32 in G major, K. 318 (Overture in G): I. Allegro spiritoso
• Symphony No. 32 in G major, K. 318 (Overture in G): II. Andante
• Symphony No. 32 in G major, K. 318 (Overture in G): III. Tempo I

• Vier letzte Lieder "Four Last Songs": I. Frühling
• Vier letzte Lieder "Four Last Songs": II. September
• Vier letzte Lieder "Four Last Songs": III. Beim Schlafengehn
• Vier letzte Lieder "Four Last Songs": IV. Im Abendrot
• Orchesterlieder "Songs with Orchestra": Befreit, Op. 39 No. 4
• Orchesterlieder "Songs with Orchestra": Muttertändelei, Op. 43 No. 2
• Orchesterlieder "Songs with Orchestra": Wiegenlied, Op. 41 No. 1
• Orchesterlieder "Songs with Orchestra": Waldseligkeit, Op. 49 No. 1
• Orchesterlieder "Songs with Orchestra": Cäcilie, Op. 27 No. 2
• Der Rosenkavalier, Op. 59: Suite

• Daphne: Orchestereinleitung / "Kleontes!" / "Adrast!"
• Daphne: "O bleib geliebter Tag!"
• Daphne: "O wie gerne blieb ich bei dir"
• Daphne: "Leukippos, du?"
• Daphne: "Daphne!" / "Mutter!" / "Wir warten dein"
• Daphne: "Ei, so fliegt sie dahin"
• Daphne: "Seid ihr um mich, ihr Hirten alle?"
• Daphne: "Ich grüße dich, weiser, erfahrener Fischer"
• Daphne: "Was führt dich her in niedern Gewande"
• Daphne: "Dieser Kuß - dies Umarmen"
• Daphne: "Allüberall blüht Dionysos"
• Daphne: "Trinke, du Tochter!"
• Daphne: "Furchtbare Schmach dem Gotte!"
• Daphne: "Zu dir nun, Knabe!"
• Daphne: "Jeden heiligen Morgen"

• Salome: "Wie schön is die Prinzessin Salome heute nacht!"
• Salome: "Ich will nicht bleiben"
• Salome: "Wo ist er, dessen Sündenbecher jetzt voll ist?"
• Salome: "Ich bin Salome, die Tochter der Herodias"
• Salome: "In dein Haar bin ich verliebt, Jokanaan."
• Salome: "Ich will deinen Mund küssen, Jokanaan."
• Salome: "Wo ist Salome? Wo ist die Prinzessin?"
• Salome: "Salome, komm, trink Wein mit mir."
• Salome: "Siehe, der Tag ist nahe, der Tag des Herrn."

• Festmusik der Stadt Wien
• Serenade for Winds, Op. 7
• Prelude to Act 2 From Guntram, Op. 25
• Parade-Marsch des Regiments Königs-Jäger zu Pferde No. 1
• Parade-Marsch Cavallerie No. 2
• Love Scene from Feuersnot, Op. 50
• Feierlicher Einzug der Ritter des Johanniter-Ordens
• Suite from Der Rosenkavalier, Op. 59

• Der Rosenkavalier, Op. 59: Act I. Introduction
• Der Rosenkavalier, Op. 59: Act I. "Wie du warst!"
• Der Rosenkavalier, Op. 59: Act I. "Marie Theres'!" - "Octavian!"
• Der Rosenkavalier, Op. 59: Act I. "Quinquin, es ist mein Mann!"
• Der Rosenkavalier, Op. 59: Act I. "Selbstverständlich empfängt mich Ihro Gnaden"
• Der Rosenkavalier, Op. 59: Act I. "Hat Sie schon einmal mit einem Kavalier"
• Der Rosenkavalier, Op. 59: Act I. "Nein, er agiert mir gar zu gut!"
• Der Rosenkavalier, Op. 59: Act I. "I komm' glei"
• Der Rosenkavalier, Op. 59: Act I. "Di rigori armato il seno"
• Der Rosenkavalier, Op. 59: Act I. "Als Morgengabe"
• Der Rosenkavalier, Op. 59: Act I. "Mein lieber Hippolyte"
• Der Rosenkavalier, Op. 59: Act I. "Da geht er hin"
• Der Rosenkavalier, Op. 59: Act I. "Ach! Du bist wieder da!"
• Der Rosenkavalier, Op. 59: Act I. "Die Zeit ist...Mein schöner Schatz...Ich werde jetzt"
• Der Rosenkavalier, Op. 59: Act I. "Ich hab' ihn nicht einmal geküßt"

• Nacht
• Sonnenaufgang
• Der Anstieg
• Eintritt in den Wald - Wanderung neben dem Bache
• Am Wasserfall
• Erscheinung
• Auf blumigen Wiesen
• Auf der Alm
• Durch Dickicht und Gestrüpp auf Irrwegen
• Auf dem Gletscher
• Gefahrvolle Augenblicke
• Vision
• Nebel steigen auf
• Die Sonne verdüstert sich allmählich
• Elegie
• Stille vor dem Sturm
• Gewitter und Sturm, Absteig
• Sonnenuntergang
• Ausklang
• Nacht
• Der Rosenkavalier: Waltzes act III
• Don Juan Tone Poem op.20

• Ariadne auf Naxos: Vorspiel Ouvertüre
• Ariadne auf Naxos: Vorspiel "Mein Herr Haushofmeister!"
• Ariadne auf Naxos: Vorspiel "Lieber Freund, verschaffen sie mir die Geigen"
• Ariadne auf Naxos: Vorspiel "O ich möcht vieles ändern noch in zwölfter Stund"
• Ariadne auf Naxos: Vorspiel "Das! für einen Bacchus!"
• Ariadne auf Naxos: Vorspiel "Erst nach der Oper kommen wir daran"
• Ariadne auf Naxos: Vorspiel "Nach meiner Oper?"
• Ariadne auf Naxos: Vorspiel "Mein Partner, meine erprobten Freunde!"
• Ariadne auf Naxos: Vorspiel "Die Herrschaften stehen vom Tisch auf!"
• Ariadne auf Naxos: Vorspiel "Ariadne auf Naxos, Herr"
• Ariadne auf Naxos: Vorspiel "Nein, Herr, so kommt es nicht"
• Ariadne auf Naxos: Vorspiel "Kindskopf. Merkt auf - wir spielen mit in dem Stück"
• Ariadne auf Naxos: Vorspiel "An ihre Plätze, meine Damen und Herren!"
• Ariadne auf Naxos: Aufzug Ouvertüre
• Ariadne auf Naxos: Aufzug "Schläft sie?"
• Ariadne auf Naxos: Aufzug "Ach! Wo war ich?"
• Ariadne auf Naxos: Aufzug "Ein Schönes war - hieß Theseus - Ariadne"
• Ariadne auf Naxos: Aufzug "Ach, so versuchet doch ein kleines Lied"

• Ein Heldenleben, Op. 40: I. Der Held
• Ein Heldenleben, Op. 40: II. Des Helden Widersacher
• Ein Heldenleben, Op. 40: III. Des Helden Gefährtin
• Ein Heldenleben, Op. 40: IV. Des Helden Walstatt
• Ein Heldenleben, Op. 40: V. Des Helden Friedenswerke
• Ein Heldenleben, Op. 40: VI. Des Helden Weltflucht und Vollendung
• Tot und Verklärung, Op. 24

• Also sprach Zarathustra, Op. 30: Einleitung
• Also sprach Zarathustra, Op. 30: Von den Hinterwelten
• Also sprach Zarathustra, Op. 30: Von der großen Sehnsucht
• Also sprach Zarathustra, Op. 30: Von den Freuden und Leidenschaften
• Also sprach Zarathustra, Op. 30: Das Grablied
• Also sprach Zarathustra, Op. 30: Von der Wissenschaft
• Also sprach Zarathustra, Op. 30: Der Genesende
• Also sprach Zarathustra, Op. 30: Das Tanzlied
• Also sprach Zarathustra, Op. 30: Nachtwanderland
• Don Juan, Op. 20
• Till Eulenspiegels Lustige Streiche, Op. 28

• A Hero's Life, Op. 40: I. The Hero
• A Hero's Life, Op. 40: II. The Hero's Adversaries
• A Hero's Life, Op. 40: III. The Hero's Companion (I)
• A Hero's Life, Op. 40: IV. The Hero's Companion (II)
• A Hero's Life, Op. 40: V. The Hero's Battlefield
• A Hero's Life, Op. 40: VI. The Hero's Works of Peace
• A Hero's Life, Op. 40: VII. The Hero's Retirement From the World and Fulfillment
• Symphony No. 90 in C major, Hob. I:90: I. Adagio - Allegro assai
• Symphony No. 90 in C major, Hob. I:90: II. Andante
• Symphony No. 90 in C major, Hob. I:90: III. Menuett - Trio
• Symphony No. 90 in C major, Hob. I:90: IV. Allegro assai

• Siegfried Idyll
• Symphony No. 9 in D minor: I. Andante comodo
• Symphony No. 9 in D minor: II. Im Tempo eines gemächlichen Ländlers. Etwas täppisch und sehr derb

• An Alpine Symphony, Op. 64: I. Nacht (Night)
• An Alpine Symphony, Op. 64: II. Sonnenaufgang (Sunrise)
• An Alpine Symphony, Op. 64: III. Der Anstieg (The Ascent)
• An Alpine Symphony, Op. 64: IV. Der Eintritt in der Wald (Entering the Forest)
• An Alpine Symphony, Op. 64: V. Wanderung neben dem Bache (Wandering by the Brook)
• An Alpine Symphony, Op. 64: VI. Am Wasserfall (At the Waterfall)
• An Alpine Symphony, Op. 64: VII. Erscheinung (Apparition)
• An Alpine Symphony, Op. 64: VIII. Auf blumige Wiesen (On Flower-Covered Meadows)
• An Alpine Symphony, Op. 64: IX. Auf der Alm (On Alpine Pastures)
• An Alpine Symphony, Op. 64: X. Durch Dickicht und Gestrüpp auf Irrwegen (Lost in the Thicket and the Undergrowth)
• An Alpine Symphony, Op. 64: XI. Auf dem Gletscher (On the Glacier)
• An Alpine Symphony, Op. 64: XII. Gefahrvolle Augenblicke (Hazardous Moments)
• An Alpine Symphony, Op. 64: XIII. Auf dem Gipfel (On the Summit)
• An Alpine Symphony, Op. 64: XIV. Vision (Vision)
• An Alpine Symphony, Op. 64: XV. Nebel steigen auf (The Mist Rises)
• An Alpine Symphony, Op. 64: XVI. Die Sonne verdüstert sich allmählich (The Sun Gradually Darkens)
• An Alpine Symphony, Op. 64: XVII. Elegie (Elegy)
• An Alpine Symphony, Op. 64: XVIII. Stille vor dem Sturm (The calm Before the Storm)
• An Alpine Symphony, Op. 64: XIX. Gewitter und Sturm, Abstieg (The Thunderstorm, The Descent)
• An Alpine Symphony, Op. 64: XX. Sonnenuntergang (Sunset)
• An Alpine Symphony, Op. 64: XXI. Ausklang (Conclusion)
• An Alpine Symphony, Op. 64: XXII. Nacht (Night)
• Death and Transfiguration, Op. 24

• Elektra: Act I. "Wo bleibt Elektra?" (Fünf Mägde, Aufseherin)
• Elektra: Act I. "Allein! Weh, ganz allein" (Elektra)
• Elektra: Act I. "Ah! das Gesicht!" (Elektra, Chrysothemis)
• Elektra: Act I. "Was willst du? Seht doch, dort!" (Klytämnestra, Elektra, Die Vertraute, Die Schleppträgerin)
• Elektra: Act I. "Ich habe keine guten Nächte" (Klytämnestra, Elektra)

• Introduktion. Mäßiges Zeitmaß
• Thema. Mäßig
• Variation I. Gemächlich
• Variation II. Kriegerisch
• Variation III. Mäßiges Zeitmaß
• Variation IV. Etwas breiter
• Variation V. Sehr langsam
• Variation VI. Schnell
• Variation VII. Ein wenig ruhiger als vorher
• Variation VIII. Gemächlich
• Variation IX. Schnell und stürmisch
• Variation X. Viel breiter
• Finale. Sehr ruhig
• Tod und Verklärung

• Sinfonia domestica, Op. 53: Thema I: Bewegt
• Sinfonia domestica, Op. 53: Thema II: (Sehr lebhaft)
• Sinfonia domestica, Op. 53: Thema III: (Ruhig)
• Sinfonia domestica, Op. 53: Scherzo (Munter)
• Sinfonia domestica, Op. 53: Mässig langsam (Wiegenlied)
• Sinfonia domestica, Op. 53: Adagio (Langsam)
• Sinfonia domestica, Op. 53: Finale (Sehr lebhaft)
• Tod und Verklärung, Op. 24

• Elektra: "Wo bleibt Elektra?" (1., 2., 3. & 4. Magd)
• Elektra: "Ich will vor ihr mich niederwerfen" (5. Magd, Aufseherin, 1., 3., 2. & 4. Magd)
• Elektra: "Allein! Weh ganz allein" (Elektra)
• Elektra: "Elektra!... Ah, das Gesicht!" (Chrysothemis, Elektra)
• Elektra: "Ich kann nicht sitzen und ins Dunkel starren" (Chrysothemis, Elektra)
• Elektra: "Es geht ein Lärm los" (Elektra, Chrysothemis)
• Elektra: "Was willst du? Seht doch, dort!" (Klytämnestra, Elektra, Vertraute, Schleppträgerin)
• Elektra: "Ich will nichts hören" (Klytämnestra)
• Elektra: "Ich habe keine guten Nächte" (Klytämnestra, Elektra)
• Elektra: "Wenn das rechte Blutopfer unterm Beile fällt" (Elektra, Klytämnestra)
• Elektra: "Läßt Du den Bruder nicht nach Hause, Mutter?" (Elektra, Klytämnestra)
• Elektra: "Was bluten muß? Dein eigenes Genick" (Elektra, Klytämnestra)

• Horn concerto, No. 1 in E-flat major, Op. 11: I.Allegro
• Horn concerto, No. 1 in E-flat major, Op. 11: II. Andante
• Horn concerto, No. 1 in E-flat major, Op. 11: III. Allegro
• Duet concertino for clarinet and bassoon,: I. Allegro moderato
• Duet concertino for clarinet and bassoon,: II. Andante
• Duet concertino for clarinet and bassoon,: III. Rondo. Allegroma non troppo
• Serenade in E-flat major, Op. 7 for wind instruments
• Horn concerto, No. 2 in E-flat Major: I. Allegro
• Horn concerto, No. 2 in E-flat Major: II. Andante con moto
• Horn concerto, No. 2 in E-flat Major: III. Rondo. Allegro molto

• Nacht
• Sonnenaufgang
• Der Anstieg
• Eintritt in den Wald
• Wanderung neben dem Bache
• Am Wasserfall
• Erscheinung
• Auf blumige Wiesen
• Auf der Alm
• Durch Dickicht und Gestrüpp auf Irrwegen
• Auf dem Gletscher
• Gefahrvolle Augenblicke
• Auf dem Gipfel
• Vision
• Nebel steigen auf
• Die Sonne verdüstert sich allmählich
• Elegie
• Stille vor dem Sturm
• Gewitter und Sturm, Abstieg
• Sonnenuntergang
• Ausklang
• Nacht

• Don Quixote, Op.35: Introduktion (Mäßiges Zeitmaß)
• Don Quixote, Op.35: 4. Variation 1 (Gemächlich)
• Don Quixote, Op.35: 5. Variation 2 (Kriegerisch)
• Don Quixote, Op.35: 6. Variation 3 (Mäßiges Zeitmaß)
• Don Quixote, Op.35: 7. Variation 4 (Etwas breiter)
• Don Quixote, Op.35: 8. Variation 5 (Sehr langsam)
• Don Quixote, Op.35: 9. Variation 6 (Schnell)
• Don Quixote, Op.35: 10. Variation 7 (Ein wenig ruhiger als vorher)
• Don Quixote, Op.35: 11. Variation 8
• Don Quixote, Op.35: 12. Variation 9 (Schnell und stürmisch)
• Don Quixote, Op.35: 13. Variation 10 (Viel breiter)
• Don Quixote, Op.35: 14. Finale (Sehr ruhig)
• Till Eulenspiegel's Merry Pranks (Till Eulenspiegels lustige Streiche), Op. 28

• Don Juan, Op. 20
• Till Eulenspiegel's Merry Pranks, Op.28
• Also Sprach Zarathustra, Op.30 - Einleitung
• Also Sprach Zarathustra, Op.30 - Von den Hinterweltlern
• Also Sprach Zarathustra, Op.30 - Von der großen Sehnsucht
• Also Sprach Zarathustra, Op.30 - Von den Freuden und Leidenschaften
• Also Sprach Zarathustra, Op.30 - Das Grablied
• Also Sprach Zarathustra, Op.30 - Von der Wissenschaft
• Also Sprach Zarathustra, Op.30 - Der Genesende
• Also Sprach Zarathustra, Op.30 - Das Tanzlied
• Also Sprach Zarathustra, Op.30 - Nachtlied
• Also Sprach Zarathustra, Op.30 - Nachtwanderlied

• An Alpine Symphony, Op. 64: Nacht
• An Alpine Symphony, Op. 64: Sonnenaufgang
• An Alpine Symphony, Op. 64: Der Anstieg
• An Alpine Symphony, Op. 64: Eintritt in den Wald
• An Alpine Symphony, Op. 64: Wanderung neben dem Bache
• An Alpine Symphony, Op. 64: Am Wasserfall
• An Alpine Symphony, Op. 64: Erscheinung
• An Alpine Symphony, Op. 64: Auf blumigen Weisen
• An Alpine Symphony, Op. 64: Auf der Alm
• An Alpine Symphony, Op. 64: Durch Dickicht und Gestrüpp auf Irrwegen
• An Alpine Symphony, Op. 64: Auf dem Gletscher
• An Alpine Symphony, Op. 64: Gefahrvolle Augenblicke
• An Alpine Symphony, Op. 64: Auf dem Gipfel
• An Alpine Symphony, Op. 64: Vision
• An Alpine Symphony, Op. 64: Nebel steigen auf
• An Alpine Symphony, Op. 64: Die Sonne verdüstert sich allmählich
• An Alpine Symphony, Op. 64: Elegie
• An Alpine Symphony, Op. 64: Stille vor dem Sturm
• An Alpine Symphony, Op. 64: Gewitter und Sturm, Absteig
• An Alpine Symphony, Op. 64: Sonnenuntergang
• An Alpine Symphony, Op. 64: Ausklang
• An Alpine Symphony, Op. 64: Nacht

• Also sprach Zarathustra, Op. 30: [Einleitung]... Von den Hinterweltlern - Von der großen Sehnsucht
• Also sprach Zarathustra, Op. 30: Von den Freuden - und Leidenschaften - Das Grablied
• Also sprach Zarathustra, Op. 30: Von der Wissenschaft
• Also sprach Zarathustra, Op. 30: Der Genesende - Das Tanzlied - Das Nachtwandlerlied
• Don Juan, Op. 20: Tondichtung nach Nikolaus Lenau

• An Alpine Symphony

• Aus Italien: Auf der Campagna
• Aus Italien: In Roms Ruinen
• Aus Italien: Am Strande von Sorrent
• Aus Italien: Neapolitanisches Volksleben
• Die Liebe der Danae: Symphonic fragment
• Der Rosenkavalier: Waltz Sequence No.2

• Daphne: Einleitung "Kleontes! Adrast! Wo bleibst du?"
• Daphne: "Leb wohl, du Tag" / "O bleib, geliebter Tag"
• Daphne: "Leukippos, du! Ja, ich selbst, ich war dem Baum!
• Daphne: "Daphne! Mutter! Wir warten dein!"
• Daphne: "Ei, so fliegt sie vorbei" / "Höre uns, Schäfer"
• Daphne: "Seid ihr um mich, ihr Hirten alle?" / "Wisset, ich sah ihn, Phoibos Apollon!"
• Daphne: "Ich grüsse dich, weiser, erfahrener Fischer"
• Daphne: "Was führt dich her im niedern Gewande" / "Was seh ich? Was schreitet dort?"
• Daphne: "Wie bist du gewaltig, fremder Hirte" / "Was können an Weite menschliche Augen forschend ermessen"

• Also Sprach Zarathustra: I. Sehr breit
• Also Sprach Zarathustra: II. Von den Hinterweltern
• Also Sprach Zarathustra: III. Von der großen Sehnsucht
• Also Sprach Zarathustra: IV. Von den Freuden und Leidenschaften
• Also Sprach Zarathustra: V. Das Grablied
• Also Sprach Zarathustra: VI. Von der Wissenschaft
• Also Sprach Zarathustra: VII. Der Genesende
• Also Sprach Zarathustra: VIII. Das Tanzlied
• Also Sprach Zarathustra: IX. Nachtwandlerlied
• Don Juan, Op 20

• Also Sprach Zarathustra, Op. 30: Einleitung
• Also Sprach Zarathustra, Op. 30: II. Von den Hinterweltlern
• Also Sprach Zarathustra, Op. 30: III. Von der großen Sehnsucht
• Also Sprach Zarathustra, Op. 30: IV. Von den Freuden und Leidenschaften
• Also Sprach Zarathustra, Op. 30: V. Das Grablied
• Also Sprach Zarathustra, Op. 30: VI. Von der Wissenschaft
• Also Sprach Zarathustra, Op. 30: VII. Der Genesende
• Also Sprach Zarathustra, Op. 30: VIII. Das Tanzlied
• Also Sprach Zarathustra, Op. 30: IX. Nachtwanderlied
• Till Eulenspiegels lustige Streiche, Op. 28
• Salome: Tanz der sieben Schleier

• Oboe Concerto in C major, K. 314: I. Allegro aperto
• Oboe Concerto in C major, K. 314: II. Adagio non troppo
• Oboe Concerto in C major, K. 314: III. Rondo (Allegretto)
• Oboe Concerto in D major

• Ein Heldenleben, Op. 40 - I. Der Held
• Ein Heldenleben, Op. 40 - II. Des Helden Wiedersacher
• Ein Heldenleben, Op. 40 - III. Des Helden Gefärtin
• Ein Heldenleben, Op. 40 - IV. Des Helden Walstatt
• Ein Heldenleben, Op. 40 - V. Des Helden Friedenswerke
• Ein Heldenleben, Op. 40 - VI. Des Helden Weltflucht und Vollendung

• Guntram: I. Akt Ouvertüre
• Guntram: I. Akt, I. Bild "Hier, ihr Guten, rastet, erholt euch"
• Guntram: I. Akt, II. Bild "Ein glückliches Loos?"
• Guntram: I. Akt, II. Bild "Endlich, endlich entflohn dem Schwarm"
• Guntram: I. Akt, II. Bild "Freihild! Was hör ich?"
• Guntram: I. Akt, III. Bild "Freihild, mein Kind, mein süsses Kind!"
• Guntram: I. Akt, III. Bild "Verdammtes Volk, hab ich euch gefasst?!"
• Guntram: II. Akt Ouvertüre
• Guntram: II. Akt, I. Bild "Heil dem Herrscher, dessen Seele"
• Guntram: II. Akt, I. Bild "Freihild! Noch scheinst du traurig"

• Piano Sonata In B Minor, Op. 5 - I. Allegro Molto Appassionato
• Piano Sonata In B Minor, Op. 5 - II. Adagio Cantabile
• Piano Sonata In B Minor, Op. 5 - III. Scherzo
• Piano Sonata In B Minor, Op. 5 - IV. Finale: Allegretto Vivo
• 5 Klavierstücke, Op. 3 - I. Largo
• 5 Klavierstücke, Op. 3 - II. Allegro Vivace Scherzando
• 5 Klavierstücke, Op. 3 - III. Largo
• 5 Klavierstücke, Op. 3 - IV. Allegro Molto
• 5 Klavierstücke, Op. 3 - V. Allegro Marcatissimo

• Don Juan, Op. 20
• Salome: Dance of the Seven Veils
• Death and Transfiguration, Op. 24

• 01. Nacht
• 02. Sonnenaufgang
• 03. Der Anstieg
• 04. Eintritt in den Wald (Wanderung neben dem Bache)
• 05. Am Wasserfall
• 06. Erscheinung
• 07. Auf blumigen Wiesen
• 08. Auf der Alm
• 09. Durch Dickicht und Gestrüpp auf Irrwegen
• 10. Auf dem Gletscher
• 11. Gefahrvolle Augenblicke (Auf dem Gipfel)
• 12. Vision
• 13. Nebel steigen auf
• 14. Die Sonne verdüstert sich allmählich
• 15. Elegie
• 16. Stille vor dem Sturm
• 17. Gewitter und Sturm
• 18. Sonnenuntergang
• 19. Ausklang
• 20. Nacht

• 01. Nacht
• 02. Sonnenaufgang
• 03. Der Anstieg
• 04. Eintritt in den Wald (Wanderung neben dem Bache)
• 05. Am Wasserfall
• 06. Erscheinung
• 07. Auf blumigen Wiesen
• 08. Auf der Alm
• 09. Durch Dickicht und Gestrüpp auf Irrwegen
• 10. Auf dem Gletscher
• 11. Gefahrvolle Augenblicke (Auf dem Gipfel)
• 12. Vision
• 13. Nebel steigen auf
• 14. Die Sonne verdüstert sich allmählich
• 15. Elegie
• 16. Stille vor dem Sturm
• 17. Gewitter und Sturm
• 18. Sonnenuntergang
• 19. Ausklang
• 20. Nacht

• Capriccio: Einleitung
• Capriccio: I. Szene "Bezaubernd ist sie heute wieder"
• Capriccio: I. Szene "Bei sanfter Musik schläft sich's am besten"
• Capriccio: II. Szene "Der Strom der Tränen trug mich fort"
• Capriccio: III. Szene "Die Bühne ist fertig"
• Capriccio: III. Szene "Da ist sie! Ich eile, sie zu begrüssen"
• Capriccio: IV. Szene "Ihr geht.""
• Capriccio: IV. Szene "Ein schönes Gedicht!""
• Capriccio: V. Szene "Lassen Sie ihn bewähren"
• Capriccio: V. Szene "Meine Prosa verstummt"
• Capriccio: V. Szene "Hier ist er!"
• Capriccio: VI. Szene "Wie schön sind die Worte, kaum mehr kenn' ich sie"
• Capriccio: VII. Szene "Verraten hab' ich meine Gefühle"
• Capriccio: VII. Szene "Diese Liebe, plötzlich geboren"
• Capriccio: VII. Szene "Wir werden die Schokolade hier im Salon einnehmen"
• Capriccio: VIII. Szene "Welch' köstliche Begegnung"
• Capriccio: IX. Szene "Wir kehren zurück in die Welt des Salons"
• Capriccio: IX. Szene 1. Tanz: Passepied "Was sagt ihr?"
• Capriccio: IX. Szene 2. Tanz: Gigue "Ich bin fest entschlossen"
• Capriccio: IX. Szene 3. Tanz: Gavotte Eure Kunst entzückt und begeistert mich"
• Capriccio: IX. Szene Fuge "Tanz und Musik stehn im Bann des Rhythmus"
• Capriccio: IX. Szene "Eine Oper ist ein absurdes Ding"

• Concerto for Oboe in D major - Allegro Moderato
• Concerto for Oboe in D major - Andante
• Concerto for Oboe in D major - Vivace - attacca
• Concerto for Oboe in D major - Allegro
• Concerto for Natural Horn No.1 in E flat major - Allegro
• Concerto for Natural Horn No.1 in E flat major - Andante
• Concerto for Natural Horn No.1 in E flat major - Rondo. Allegro
• Second Horn Concerto - Allegro
• Second Horn Concerto - Andante con moto
• Second Horn Concerto - Rondo. Allegro molto
• Duet - Concertino for Clarinet and Bassoon - Allegro moderato
• Duet - Concertino for Clarinet and Bassoon - Andante
• Duet - Concertino for Clarinet and Bassoon - Rondo. Allegro ma non troppo

• Don Juan, Op. 20
• Till Eulenspiegels lustige Streiche, Op. 28
• Tod und Verklärung, Op. 24

• Eine Alpensinfonie, op. 64: I: Nacht
• Eine Alpensinfonie, op. 64: II: Sonnenaufgang
• Eine Alpensinfonie, op. 64: III: Der Anstieg
• Eine Alpensinfonie, op. 64: IV: Eintritt in den Wald - Wanderung neben dem Bache
• Eine Alpensinfonie, op. 64: V: Am Wasserfall - Erscheinung
• Eine Alpensinfonie, op. 64: VI: Auf blumigen Wiesen
• Eine Alpensinfonie, op. 64: VII: Auf der Alm
• Eine Alpensinfonie, op. 64: VIII: Durch Dickicht und Gestrüpp auf Irrwegen
• Eine Alpensinfonie, op. 64: IX: Auf dem Gletscher
• Eine Alpensinfonie, op. 64: X: Gefahrvolle Augenblicke
• Eine Alpensinfonie, op. 64: XI: Auf dem Gipfel
• Eine Alpensinfonie, op. 64: XII: Vision
• Eine Alpensinfonie, op. 64: XIII: Nebel steigen auf - Die Sonne verdüstert sich allmählich - Elegie - Stille vor dem Sturm
• Eine Alpensinfonie, op. 64: XIV: Gewitter und Sturm, Abstieg
• Eine Alpensinfonie, op. 64: XV: Sonnenuntergang
• Eine Alpensinfonie, op. 64: XVI: Ausklang
• Eine Alpensinfonie, op. 64: XVII: Nacht
• Rosenkavalier-Suite: I. Con moto agitato
• Rosenkavalier-Suite: II. Allegro molto
• Rosenkavalier-Suite: III. Tempo di Valse, assai comodo da primo
• Rosenkavalier-Suite: IV. Moderato molto sostenuto
• Rosenkavalier-Suite: V. Schneller Walzer. Molto con moto

• Fantasie über den Sehnsuchtswalzer von Schubert, Op. 2
• Les Adieux (Romanze), o. op.
• Originalfantasie, Op. 6
• Nocturno, Op. 7
• Empfindungen am Meere (Romanze), Op. 12
• Thema und Variationen, Op. 13
• Lied ohne Worte, o. op.
• Introduktion, Thema und Variationen
• Andante

Born: 1864-06-11

Died: 1949-09-08