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A fresh look at Austrian economists and the dynamic intellectual and political context in which they lived and worked.
"What Sir Arthur Conan Doyle did for Victorian London and Caleb Carr did for old New York, Sydney Jones does for historic Vienna." —Karen Harper, New York Times bestselling author of the Queen Elizabeth I mystery series At first it seemed like a series of accidents plagued Vienna's Court Opera. But after a singer is killed during rehearsals of a new production, the evidence suggests something much more dangerous. Someone is trying to murder the famed conductor and composer Gustav Mahler. Worse, Mahler might not be the first musical genius to be dispatched by this unknown killer. Alma Schindler, one of Mahler's many would-be mistresses, asks the lawyer and aspiring private investigator Karl Werthen to help stop the attacks. With his new wife, Berthe, and his old friend, the criminologist Hanns Gross, Werthen delves into Vienna's rich society of musicians to discover the identity of the person who has targeted one of Austria's best-known artists. Set during the peak of Vienna's cultural renaissance and featuring some of the city's most colorful residents, Requiem in Vienna is a perfect historical fiction. Rich in description and populated by vivid characters, this is a mystery that will leave readers guessing until the very last moment.
The Viennese café was a key site of urban modernity around 1900. In the rapidly growing city it functioned simultaneously as home and workplace, affording opportunities for both leisure and intellectual exchange. This volume explores the nature and function of the coffeehouse in the social, cultural, and political world of fin-de-siècle Vienna. Just as the café served as a creative meeting place within the city, so this volume initiates conversations between different disciplines focusing on Vienna at the beginning of the twentieth century. Contributions are drawn from the fields of social and cultural history, literary studies, Jewish studies and art, and architectural and design history. A fresh perspective is also provided by a selection of comparative articles exploring coffeehouse culture elsewhere in Eastern Europe.
A symbol of modernity, the Viennese Secession was defined by the rebellion of twenty artists who were against the conservative Vienna Künstlerhaus' oppressive influence over the city, the epoch, and the whole Austro-Hungarian Empire. Influenced by Art Nouveau, this movement (created in 1897 by Gustav Klimt, Carl Moll, and Josef Hoffmann) was not an anonymous artistic revolution. Defining itself as a “total art”, without any political or commercial constraint, the Viennese Secession represented the ideological turmoil that affected craftsmen, architects, graphic artists, and designers from this period. Turning away from an established art and immersing themselves in organic, voluptuous, and decorative shapes, these artists opened themselves to an evocative, erotic aesthetic that blatantly offended the bourgeoisie of the time. Painting, sculpture, and architecture are addressed by the authors and highlight the diversity and richness of a movement whose motto proclaimed “for each time its art, for each art its liberty” – a declaration to the innovation and originality of this revolutionary art movement.
Viennese Kitchen is the perfect gift for cookbook enthusiasts and anyone interested in classic Viennese cooking traditions. Based on the original notebook and recipe journal of a 1900s baroness, this beautiful book takes readers on a journey through fin de siècle Viennese high society. With over 100 original recipes, all of which have been tested and brought up to date for the modern cook, it is not only a wonderful collection of recipes but also a fascinating look at the life of a Viennese family. Filled with anecdotes and personal stories to bring the recipes to life, this book is a charming insight into a bygone era. The classic recipes cover a variety of dishes both savoury and sweet, with a strong emphasis on the desserts and pastries for which Vienna is famed. Enchanting photographs of Vienna grace the book, capturing the architecture, cafe culture and beauty of this elegant city.
Paul Hofmann, a native Viennese, brings this enchanted land of contradictions to life, covering two thousand years of Viennese personalities, politics and culture. 46 black-and-white photos.
Historians have long tried to place the music of Haydn and Mozart in the lineage of German Lutheran music. In this book, Daniel Heartz shows that the first Viennese school grew from a Catholic inheritance in Italian music and from local tradition, with an admixture of French currents. The generation of composers led by Haydn no longer trained in Italy. By the time young Mozart joined the ranks of the Viennese school, its accomplishments towered above all others of the time. The author's approach can be compared to viewing a majestic mountain range in its totality: the highest peaks take on even greater majesty when seen in their natural context of foothills and lesser peaks. This is how Haydn and Mozart were viewed by their contemporaries, whose world of perception Heartz recreates, using, among other things, the visual art of the period. His focus is on music as a part of cultural history at a particular time and place. Stylistic terms and a priori periods matter less to him than the common denominators of geography, culture, and political history. Book jacket.
Liberalism, in the nineteenth-century sense of the term, came to Austria much later than it came to western Europe, for it was not until the 1840s that the industrial revolution reached the Hapsburg Empire, bringing in its train miserable working conditions and economic upheaval, which created bitter resentment among the working classes and a longing for a Utopia that would cure the ills of mankind. This new-found liberalism, largely self-contained and uninfluenced by liberal movements outside the empire, centered mainly in the idea of individual freedom and constitutional monarchism. In the end, the revolution failed because the moderates proved too weak to control the radical excesses, and the radicals in growing desperation tried to turn the rebel idea into a democratic and, at the extreme, a republican one. Fear of this extremism finally drove the moderates into the counterrevolutionary camp. Since the Viennese rebels fought to achieve many of the goals fundamental to democracy, historians have generally tended to idealize the revolutionaries and forget their shortcomings. R. John Rath has sought to evaluate the revolution from the point of view of the political ideologies of 1848 rather than those of the mid-twentieth century. Moreover, he has clearly and objectively stated the case for both the left and the right, pointing out the failures and shortcomings of each. At its publication, this was the first detailed English-language book on the Viennese Revolution of 1848 in more than a hundred years. The author has not confined himself to the bare bones of history. In his descriptions of the times and lively portrayals of the chief actors of the revolution, he has vividly restaged a drama of an ideal that failed.
Reveals how the culture and repertoire of the early Viennese ballroom permeated and intersected with other areas of musical life.
Influenced by Art Nouveau, this movement (created in 1897 by Gustav Klimt, Carl Moll, and Josef Hoffmann) was not an anonymous artistic revolution. Defining itself as a “total art”, without any political or commercial constraint, the Viennese Secession represented the ideological turmoil that affected craftsmen, architects, graphic artists, and designers from this period. Turning away from an established art and immersing themselves in organic, voluptuous, and decorative shapes, these artists opened themselves to an evocative, erotic aesthetic that blatantly offended the bourgeoisie of the time. Painting, sculpture, and architecture are addressed by the authors and highlight the diversity and richness of a movement whose motto proclaimed “for each time its art, for each art its liberty” – a declaration to the innovation and originality of this revolutionary art movement.