Erich W. Korngold's Second Sonata, op. 2 (1910), and Artur Schnabel's Piano Sonata (1923) are composed in completely different styles. Korngold's late-Romantic sonata has lush, poignant harmonies, while Schnabel's five-movement work is atonal with twelve-tone elements and unabashedly harsh. However, the two pieces share Expressionistic attributes like extreme contrasts, leitmotifs, and manic-depressive tendencies. Korngold's sonata has a façade of glory and splendor that conceals darker proceedings. This façade breaks down in the later movements. Schnabel's sonata, like his personality, is frank and unapologetic. Each movement has a unique agenda; the five movements as a whole have few musical elements in common among them. Despite these divergent effects, the sonatas are united by the personal link between the composers, namely, Schnabel's decision to widely perform Korngold's sonata. Schnabel, more famous for performing than for composing, was inordinately choosy regarding the composers whose music he performed. Schnabel "only [performed] music that is better than it can be played," and he was especially disdainful of modern music. Given these preferences, Schnabel's championing the young Korngold's unproven work is extraordinary. Forty years later, Schnabel described it as a "most amazing piece." Perhaps this fascination is the result of their common perspective toward Vienna. The present essay will interpret these two works using fin de siècle Vienna as a framework, especially typifying "the atmosphere of Vienna, of jesting defeatism and precious, playful morbidity in the [1890s], of her gradual decay." Accounts by Schnabel, author Stefan Zweig, and others describe the Viennese as "incorrigible optimists" fascinated by music and theatre but uninterested in world affairs. Korngold composed his sonata during the foreboding years preceding World War I, profiling the indifference to societal and political ills. Schnabel composed his sonata after the war, when the "Golden Age of Security," as Zweig phrased it, was corroded by Vienna's opulence and decadence. Accordingly, this essay will elucidate one possible interpretation for each of these pieces, movement by movement, with this dichotomy in mind. The interpretations will vividly illustrate the pretentious depravity and decadence from raucous revelry, as well as the profound pain and dire consequences that follow. Korngold's sonata is as a painting of realism, and his piece uses rich harmonies and soaring melodies to plainly depict the society. Schnabel's sonata, on the other hand, is a work of abstract art, using surrealism and exaggeration to warp images and environments, and portray society as suffering consequences that are unimaginably horrible, consequences that only a mind in the throes of a never-ending nightmare could envisage.

The cello concertos of Leopold Hofmann occupied an important position in Vienna between the 1760s-1780s. The total output of seven cello concertos that could be identified of his works were written for the Viennese public concerts. The audience often enjoyed listening to highly virtuosic and the newest works in the public concerts at the time. The purpose of the study will be the cello concertos of Leopold Hofmann and its relations to the Viennese public concerts. This research focuses on the detailed examination of the traits of the seven cello concertos. The thesis consists of three chapters, including the introduction and conclusion. The chapter one discusses Leopold Hofmann¡¦s life, his works and his style of composition. He was a popular composer during his time and his fame was known both in Vienna and other big cities. Chapter two focuses on the background of the Vienna in the second half of the eighteenth century, the emergence of the public concerts and the development of the cello concertos during the middle and late eighteenth century. Because of the development of the public concerts in Vienna during the second half of the eighteenth century, there were many opportunities for these concertos to be performed. Chapter three concentrates on the contents of Hofmann¡¦s cello concertos. His concertos show the mature concerto form of the Pre-classic period.

Thesis (D. Min.)--New Orleans Baptist Theological Seminary, 1995. / Includes abstract and vita. Includes bibliographical references (leaves 267-272).

Leipzig, Phil. Diss. v. 25. Aug. 1911, Ref. Brandenburg, Seeliger. / Quellen und literatur: p. [5]-10.

The Austrian art critic Ludwig Hevesi wrote the article "Gustav Klimt und die Malmosaik" in August of 1907 after seeing two separate exhibitions with paintings by the Austrian artist Gustav Klimt. The first exhibition had three easel paintings and the second, three decorative ceiling paintings. Despite the obvious differences between the two types of paintings, Hevesi noted a stylistic continuity between them. He created the term, Malmosaik, applicable to both easel and decorative painting, in order to discuss this continuity in his written criticisms. This thesis examines the applicability of the Malmosaik in Klimt's Faculty Paintings, Beethoven Frieze and Stoclet Frieze, and its impact on traditional notions of medium purity in turn-of-the-century Vienna. The Malmosaik, as it developed in Klimt's work, is discussed here as an innovative, non-medium specific aesthetic unique to Vienna.

Ensembles have become iconic of the eighteenth-century opera buffa. Previous studies have focused their efforts on form, analyzing ensembles with instrumental structures. However, these forms do not provide information as to how ensemble texts are set musically or function in terms of drama. This study follows Ronald Rabin’s dissertation research on opera buffa performed at the Burgtheater in Vienna between 1783 and 1791. Rabin asserts an ‘ensemble principle’, explaining the broad form of buffa ensembles. This study focuses on the ensembles of two Viennese works: W.A. Mozart’s Così fan tutte (1790) and Domenico Cimarosa’s Il Matrimonio Segreto (1792). Using Rabin’s ‘ensemble principle’ as a foundation, a close reading of each ensemble from these two works reveals that these composers took very different approaches to ensemble writing. By sticking to or straying from conventions, Mozart and Cimarosa made musical choices that enhance character relationships and drama in diverse ways.

The Nationalökonomische Gesellschaft (Austrian Economic Association, NOeG) provides a prominent example of the Viennese economic circles that more than academic economics dominated scientific discourse in the interwar years. For the first time this paper gives a thorough account of its history, from its foundation 1918 until the demise of its long-time president, Hans Mayer, 1955, based on official documents and archival material. The topics treated include its predecessor and rival, the Gesellschaft österreichischer Volkswirte, the foundation 1918 soon to be followed by years of inactivity, the relaunch by Mayer and Mises, the survival under the NS-regime and the expulsion of its Jewish members, and the slow restoration after 1945. In particular, an attempt is made to provide a list of the papers presented to the NOeG, as complete as possible, for the period 1918-1938. (author's abstract) / Series: Department of Economics Working Paper Series

Habilitationsschrift--Vienna. / Includes bibliographical references (p. 495-544) and index.

Technological changes have opened up new opportunities for historical research, which call for new methodologies to fully realise these opportunities. This paper presents the four-step interactive photo timeline analysis we developed to analyse large volumes of historical photographs from both a quantitative and qualitative perspective. We present the results of a case study (regarding both street design and street use in Vienna from 1860 to 1949) in which we utilised interactive photo timeline analysis. The geographical research scope was limited to the streets around the Vienna Opera: street use and street design were analysed from the perspective of the street as transportation space and as urban living space. The development of the interactive photo timeline analysis methodology and the case study analysis benefited greatly from the interdisciplinary nature of the research team.

The article explores the potential of a Polanyian analysis for overcoming the current Manichean opposition between cosmopolitan globalizers and reactionary nationalists. For long, Karl Polanyi has inspired socio-economic thinking in different ways. First, his reflections on the end of the first period of globalization in the 1930s offer insights for analysing the current political-economic situation. Furthermore, Polanyi contributes to an institutional analysis and utopian thinking towards a civilization for all. His approach enables a combination of a critique of current neoliberal globalization as a renewed version of the "liberal Utopia" with a cultural and ecological critique of capitalism as a mode of production and living. In this respect, Karl Polanyi may be contrasted to Friedrich Hayek, both contemporaries of Red Vienna, an ambitious project of local socialism as a step towards a "good life for all". The social and cultural struggles in Vienna during the 1920s and 1930s offer insights for current confrontations worldwide, but especially in Brazil where the reformist attempts of civilizing capitalism where confronted with severe opposition. Instead of the false polarization between globalization and nationalism, policies "for the select few" are opposed to policies "for all". Finally, Polanyi's reflections will be used to shed light onto the current impasse resulting from the illegitimate deposition of president Dilma Rousseff.