Simon Porges (b. 1801, d. 04/09/1869) married Charlotte (b. 1801, d. 04/09/1869)

Josef Porges (b. 26/01/1835, d. 12/01/1895) married Rosa Schwarz (b. 02/12/1845, d. 19/03/1913)

Otto Porges (b. 06/03/1869, d. 1932)
           married Maria Meier (b. Mallersdorf Bayern Germany 13/11/1884, d. 16/07/1972)

Hans Porges (b. Vienna 22/10/1916, d. Vienna 09/07/1980)
           married Margit Taglieber (b. 29/4/1923)

Heinrich Porges (b. Vienna 12/07/1947)
           Vice-director of the Administration of the Academy
           of Fine Arts in Vienna (1993)
            married Erika Porsche (b. Vienna 08/07/1950) Magister Juris,
         

Astrid Saskia Porges (b. Vienna 11/07/1976).
            Medical Doctor as of 1999.

Berta Porges (b. 25/03/1911, d. 1991 Sao Paulo Brazil)
           married Erich Hornstein (b. Czechoslovakia 1911, d. Brazil 1971)

Berta Porges (b. 12/11/1867, d. 01/12/1884)

Heinrich Porges (b. Prague 25/11/1837, d. Munich 17/11/1900) married Wilhelmine Merores.
          He was supposedly an illegitimate son of Franz Liszt.

 Elsa Porges Bernstein (b. Wien 28/10/1866 d. Munich 12/07/1949)
           married (1892) Max Berstein (b. 12/05/1854 Fürth in Bayern, d. 10/03/1925 Munich)

Eva Bernstein Hauptmann (b. Munich 09/11/1894, d. 23/09/1986 Würzburg)
           married Klaus Hauptmann (b. 08/07/1889, d. 06/04/1967)
Hans Bernt (Change of name) (b. 1898, d. 18/02/1980)

Gabriele Porges (b. Munich 26/11/1868, d. Theresienstadt 24/07/1942)

Friedrich Porges
Carl Porges

Alfred Porges

Mathilde Porges (b. 25/12/1841, d. 1918) married Vienna Pr Samuel Stern (see below)

Richard Stöhr (Change of name) (b. 11/6/1874, d.11/12/1967)

Richard Stöhr (b. 20/07/1922, d. 11/03/04),
           children : Thomas Stöhr (b. 03/01/1955, d. U.S.A. 12/09/2005)
                            Daniel Jacob Stöhr (b. 13/09/1956), attorney in Chicago
Hedwig Stöhr (b. 04/09/1927), children : Janet, Karin, Edward
Heinzi (b. 1924, d. 1926 by drowning in a wild river in Schladming/Austria)

Hedwig Kämpf (b. 1864, d. 1941)
Friederike Ledig

 Source : Heinrich Porges, Vienna, 1993, 2002, Dan Stohr, 2004


Samuel Stern
Mathilde Porges Stern

Anton Romako (1832-1889)
Portrait of Samuel Stern
Oil on canvas
Österreichische Galerie Belvedere, Vienna

Hungarian physician; born at Halas, Hungary, Sept. 16, 1839; educated at the universities of Prague and Vienna (M. D. 1858). He acted for some time as assistant physician at the communal hospital of Vienna; in 1863 he was appointed privat-docent and in 1870 assistant professor of clinical propædeutics at the university there. He is the author of the following works: "Beiträge zur Kenntniss der Functionen des Nervensystems," Neuwied, 1868; "Die Propädeutische Klinik als Selbstständiges Theoretisch-Medicinisches Forschungs Institut," Vienna, 1870; "Diagnostik der Brustkrankheiten vom Propädeutisch-Klinischen Standpunkte," ib. 1877.Bibliography: Eisner, Das Geistige Wien, i., Vienna, 1893; Pagel, Biog. Lex.S. F. T. H.
Source : Jewish Encyclopedia

Anton Romako (1832-1889)
Portrait of Mathilde Stern, née Porges, c. 1886
Oil on canvas, 100 x 73 cm
Österreichische Galerie Belvedere, Vienna

The typical features of Romako's art, namely a style of painting which dissolved form and accentuated draughtsmanship, are also evident in this picture. The Portrait of Mathilde Stern, the wife of the Viennese neurologist, Professor Samuel Stern, was also known as 'Lady in Spanish Costume'. In comparison with the art of Hans Makart, in which harmony and Dionysian beauty was central, Romako's work reveals the contradictory spirit prevalent at the turn of the century, characterised as it was by social upheaval and stylistic pluralism in art.

(Courtesy of Dan Stohr, Chicago, 2003)

 


Heinrich Porges


b. Prague November 25, 1837
d. Munich November 17, 1900
(during a rehearsal of Liszt's Christus)

Music director.
He studied philosophy, then moved to music.
He was taught by Celestin Müller (piano), Rummel (harmony) and Zwonar (counterpoint).
In 1863, he moved to Leipzig where he became a co-writer of "Neue Zeitschrift für Musik" (New Musical Review) and where Brendel introduced him to Wagner's circle of friends.
In 1871, he worked at " Süddeuschen Presse " in Munich, and was also for a short period of time, a music teacher at the Royal School of Music . He became the Director of Royal Music and a fervent supporter of Wagner.
In 1886 he created "The Porges Choir" which he used to make an intense propaganda for Berlioz, Liszt, Kornelius and Anton Bruckner, but he also directed Bach and Palestrina's works as well.


Porges was a devoted disciple of Richard Wagner and worked indefatigably to bring him recognition and defend Wagner's principles. He took a very active part in the preparation of the Bayreuth's festival.

In addition to articles for musical newspapers, he wrote: "über die Aufführung der 9. Symphony to unter R. Wagner" in 1872 and the Scene Rehearsals for the festival of 1876.
A study of Porges on " Tristan and Isolde " was published in 1906 by H. von Wolzogen.
Porges was also a Lieder composer.
Recollections and letters were published by R. Balka in its book "Kranz" (1903).

His daughter Elsa Porges is the author of "Königskinder" with music by Humperdinck. Elsa's daughter, the violin player Eva Bernstein, married a son of Gerhard Hauptmann.


Sources : The Universal Jewish Encyclopaedia (NY), Jüdisches Lexicon, Larousse du XX ème Siècle (France)

Rehearsing the RingWagner, Rehearsing the Ring.
by Heinrich Porges
An eye-witness account of the stage rehearsals
of the first Bayreuth festival.
Translation by R.L. Jacobs
Cambridge University Press, 1983. ISBN: 052123722X

"The stage rehearsals of the 'Ring' brought home the imperative need to moderate dynamic expression-marks, convert fortissimos into fortes, fortes into mezzo fortes etc..., in order to ensure that the singers' words and inflections make their proper impact. We must never be allowed to forget that we are attending a dramatic performance which seeks to imitate reality; we are not listening to a purely symphonic work.From which it follows that symphonic passages during which words are being sung should never become excessively loud. This was a recurring problem during the rehearsals. Wagner declared that the orchestra should support the singer as the sea does a boat, rocking but never upsetting or swamping -- he employed that image over and over again."

 

To read abstracts of this book, click here

This book presents Wagner's view of how the Ring should be performed.
He requested Heinrich Porges, a member of his circle and an able writer as well as an accomplished musician, to 'follow all my rehearsals very closely and note down everything I say, even the smallest details, about the interpretation and performance, so that a tradition goes down in writing'. In the opinion of the eminent Wagner scholar, Curt von Westernhagen (expressed in his recent biography), Porges's conscientious record shows 'amazing insight and perception' since what distinguishes it is his 'ability always to locate the endless detail of Wagner's instructions in an overall intellectual context'. The book is therefore required reading not only for conductors, producers, instrumentalists and singers but also for musicologists and critics. In addition it is a fascinating read for anyone who knows and loves the Ring since it takes the form of a blow-by-blow commentary on the stage action as it unfolds. The writing has vitality and flow and one is caught up in the spirit of the thing as Wagner felt it. It provides a re-experience of the Ring through his eyes.

The Bühnenproben was originally published in the monthly Bayreuther Blätter in instalments that were not completed until 1896, when the Ring was first given again at Bayreuth; its publication in book form was equally protracted. Its translation now is a sign of the times. Wagner in his black moods longed for an 'invisible theatre'. He did not foresee the electronic revolution that has enabled countless people to sit comfortably at home, hi-fl equipment at their elbow, vocal score on their lap, revelling in his fusion of music and poetry and - guided by his stage directions - envisaging his 'invisible theatre' in their minds.

Letters from Franz Liszt to Heinrich Porges in Prague

[Then Royal music-director and conductor of a Gesang- verein [vocal union] in Munich,
where he has lived since 1867. ]

Dear Sir and Friend,
Owing to your affectionate understanding of what I have striven after in the "Dante Symphony" and the "Ideale", you have a special right to both works. Allow me to offer them to you as a token of my sincere attachment, as also of the grateful remembrance which I keep of the Prague performance. [At Porges' initiative the medical students had invited Liszt, in 1858, to a concert, at which his Dante Symphony and the Icdeale were given. In 1859 Bulow was also invited at Porges' inducement.] Taking your kindness for granted, I beg you to give the other two copies to Herr Professor Mildner and Herr Dr. Ambros with my best thanks.

It is to be hoped that this year's "Medical" Concert will have favorable results. My valiant son-in-law, H. von Bulow, cannot fail to be recognized among you as an eminent musician and noble character. I thank you and Herr Musil (to whom I beg you to remember me most kindly) for offering Bülow this opportunity of doing something in Prague.--There is no doubt that he will fulfill all your expectations.

For the next "Medical" Concert I willingly place myself at your disposal. Possibly we might on this occasion venture on the Symphonic Poem No. I "Ce qu'on entered sur la Montagne"--the chorus "An die Kunstler," and the "Faust Symphony?"--The respected medical men would thus take the initiative in the new musical pathology!--

For the Tonkunstler-Versammlung, etc. [Meeting of Musicians], in Leipzig at the beginning of June Dr. Brendel is expecting you, and I rejoice at the thought of meeting you again there. If the affair is not too much hampered in its natural course by local miseries and malevolence, it may do much for the bettering of our suffering musical position. In any case we will not fail in doing our part towards it.

With highest esteem, yours most truly,

F. Liszt

Weymar, March 10th, 1859


Dear Friend,
Your letter for the 22nd October gave me heartfelt pleasure, and you need not be in doubt as to the correctness of the affectionate and deep perception of my endeavour, which "has proceeded both from man's need of freedom as well as of love," and which, by and with the grace of God, has been impelled to raise itself toward the "Divine."—I cannot say much on this subject; but may my works only remain no dumb witnesses, and may your intimate understanding of them give you some satisfaction.
I send you herewith Dingelstedt's Festal Song for the Schiller Celebration, which I have purposely composed in a very simple, national manner. Perhaps there might be an opportunity of bringing the thing to a hearing during the Schiller Festival in Prague. Will you ask Apt whether he would be disposed to do it? The studying of it would not give the least trouble. It requires only a baritone or bass for the solo part, and an ordinary chorus of men's voices without any accompaniment.—
Leaving it entirely in your hands to act about it as you may think best, and either to promote the performance or to let it alone, I remain, with best thanks and high esteem,
Yours very truly,

F. Liszt
October 30th, 1859

My composition to Halm's festival play has been sent through H. von Dingelstedt to Herr Thome, and will probably be performed on the 9th or 10th November. [The festival play was given in Prague under the theater conductor Thome. The music to it was never published. The Weimar archives probably possess the score.] Write and tell me how the matter is settled.


Dear Sir,
In conveying my sincere thanks for your careful endeavours for the musical transcription of Faust, I would like to ask you one more favor :

I would like to modify the arrangement of the portion of the tenor voice solo :


 --------------------------------
"the eternal feminity"


both times as marked on the attached musical sheet.

This way it is more singable and feminine, if I am not mistaken.

Please receive, dear Sir, the assurance of my deep appreciation,

Very sincerely,

F. Liszt

July 18, 1861, Weimar

P.S. : The Faust symphony is supposed to be presented here August 6. Perhaps you will be able to attend this concert and let me have the pleasure of your visit.

Dear Porges!

You absolutely will have to do something so that the highly commendable works of Rubinstein will not be ignored. I would appreciate some good articles, as you, no doubt, can work out for the musical papers to which we have access, amongst which we also can consider the Boesendorfer Blatt in Vienna.

Best wishes for the new year,

Yours sincerely,

Richard Wagner

Jan. 9, 1876

Courtesy : Dan Stohr, Chicago, 2005

 

Articles pertaining to Heinrich Porges :

The Controversy Over Richard Wagner
by Lili Eylon. About Wagner and the Jews

Richard Wagner und das Tempo in seiner Musik
"Wenn Ihr nicht alle so langweilige Kerle wärt" by Hartmut Haenchen

Cosima Wagner's Diaries. Vol. II: 1878-1883


Elsa Porges Bernstein


b. Vienna 28/10/1866
d. Munich 12/07/1949
(source : http://thomasmann.multimania.com/tmprigsheim.htm)

 

Pseudonym : Ernst Rosmer, German playwright
Daughter of Heinrich Porges.
An affliction of the eyes forced her to retire, she thenceforth devoted herself to dramatic literature.
Shortly after her marriage in 1892 to Max Bernstein, she wrote her first play, "Wir Drei", which created considerable discussion.
It was actually a dramatized version of the matrimonial and sexual views of Taine and Zola.
Her next plays fell rather flat : "Dämmerung", 1893; "Themistokles", 1897; and "Daguy Peters".
But unbounded admiration was elicited by "Die Königskinder", 1895 - a dramatic fairy-tale.
Though its plot was simple, the beauty of the theme and its poetry were such that it was compared to Fulda's "Der Talisman".
Source : The Jewish Encyclopaedia (1902)

She was very young when she arrived in Munich, where her father had been promoted Director of Music by Louis II.
The intellectual orientation of the family home has been determining for her : Beethoven, Wagner, Goethe, Shakespeare and the ancient Greeks became her heroes.
She was still in her childhood when she became a poet and published poems in newspapers.
She initially dedicated herself to theater acting, but was forced to give up because of her eye disease.
In 1890, she married the lawyer and writer Max Bernstein in Munich.

In addition to a series of novels ("Madonna" Berlin 1894, a pastiche of Gerhard Hauptmann), she published :
"Wir drei" (The three of us) drama Munich 1893; "Dämmerung" (Twilight) , Berlin 1893; "Königskinder" (King's children), a dramatic-fairy tale for which Humperdincks wrote the music 1895, "Tedeum", comedy in 5 acts 1896; "Themislokles", tragedy 1897; "Move Maria" a poem of mourning in 5 scenes ; " Dagey ", theatre play in 1900; "Merete", drama 1901; " Johannes Herkner ", theatre play Berlin 1904; "Nausikaa" tragedy 1906; The tragedies "Maria Arndt" and "Achill", in 1910. Her best play, characterized by an original conception was : "Dämmerung". Her biggest success was the drama /fairy tale: "Königskinder".

Only "Dämmerung" and her two theater plays with Greek subjects can be taken in consideration to compare her to the best playwrights of her time. The unexpected boldness of the language made the play special; language that was never dared on stage, even by very audacious male poets. She had in fact a soul with very sensitive cords, but wanted to look profoundly masculine and fell into exaggeration and vulgarity. In her historic and Greek mythological dramas she developed a strength in the representation of persons that deserves big praises. The best of her two Greek dramas "Themistokles" displays an issued that was rarely successful for a feminine dramatist : a male character depicted with a real greatness. She avoided the boring style of verses and instead chose a compact prose, only occasionally stylized in ancient Greek.


"VIP" in the Ghetto

Elsa Bernstein's father [Heinrich Porges], born in Prague, was a conductor and an assistant of Richard Wagner.
To achieve full assimilation with the German nation and culture, he and his family converted to the Christian faith.
Elsa was a well-known playwright, who wrote under the pen-name of Ernst Rosmer. She was deported to the ghetto of Terezin in the summer of 1942, almost blind and aged 76, along with her beloved sister Gabriela whose eyesight served both - but who died shortly after their arrival in the ghetto.

In the beginning, Elsa lived in the same hard conditions as the other old people from Germany.
But suddenly -on the order of the ghetto commander Siegfried Seidel- she was moved to one of the "houses for prominents", possibly because she was the wife of the admired German playwirght Gerhard Hauptmann, or maybe because of the relation to the Wagner family. So Elsa Bernstein survived in the ghetto.
Immediately after the liberation, she wrote her experience in the ghetto for her family, on a typewriter for the blind. Only in 1999 was the booklet published at "edition ebersbach" in Dortmund by the "Zentrale fuer politische Bildung" in Hamburg, undr the title "Das Leben als Drama" (Life as a Drama). It is a gripping book, describing a reality unknown to many : the life of the VIPs in the ghetto with its hardships, the help they received and the life of the small Protestant community in the ghetto.
Elsa Bernstein died in Hamburg 4 years after the liberation.

Source : Newsletter - Theriesienstadt martyrs Rememberance Association - N° 48, January 2000
http://www.cet.ac.il/terezin/news.htm

 

Das Leben Als drama

Ebersbach Editions 1999
ISBN 3-931782-54-9

Elsa Bernstein: Das Leben als Drama (The life as a drama)

Elsa Bernstein (1866 - 1949)
Writer, under the pen-name of Ernst Rosmer. She made her home in Munich a salon where the fine literary and artistic society gathered. Theodor Fontane, Ludwig Ganghofer, Richard Strauss, Hugo von Hoffmannsthal, Rainer Maria Rilke, Ricarda Huch, Tilla Durieux and Thomas Mann might were among her guests. She actually wanted to become an actress, but had to give up because of a progressive eye disease. In 1942, Elsa, daughter of Heinrich Porges, Jewish Munich conductor and writer, was deported to Theresienstadt.
When she arrived there, she was accommodated in the so-called prominent house.
It is probably Winifred Wagner who provided her an exit visa to the USA which was not made available , however, to her sister Gabriele. Elsa refused to escape without her sister. " Prominent house - what is this? ", she asked upon her arrival in the artificial city.
Even today not much is known on this issue. It was a privileged accommodation for prisoners who were considered by the SS as "prominent", like nobles, professors, high German employees or officers, University professors.
The publisher Rita Bake found by chance Elsa Bernstein's manuscript about her time in the ghetto, which she wrote in her last years after her liberation from Theresienstadt on a special typewriter for the blind.
It is a shaking description of everyday life and feelings in this place where most ended in the gas chamber.
"And I start asking myself whether it, really, makes sense without her - Gabriele- return". Such is the end the book.

A simple sentence which shows that there cannot be anymore unclouded joy after such experience.


Biography

1876
Elsa experiences for the first time the performances of the Bayreuth festival
1883

Theater education at the Münich Konservatorium and stage assignment in Magdeburg

1884-1887

Under contract at the Braunschweiger Hoftheater

Um 1887

She gives up her theatrical carreer because of a progressive eye disease

1890

Marriage with Max Bernstein, 12 years older than her

1891

Writes under the pen name of Ernst Rosmer. She wrote 14 plays between 1891 and 1910.

As of the 1890's
The Bernstein couple hosted a literary salon in their home at Briennerstraße 8a.
Among the guests : Ernst Penzoldt, Thomas Mann who gets to know his future Mrs Katja, Prof. Dr. Alfred Pringsheim and hiswife, the historian Hermann Oncken with his wife, the writers Joseph Ponten and Klabund, Friedrich von der Leyen, Franz von Wesendonk, Theodor Fontane, Gerhart Hauptmann, Henrik Ibsen, Michael Georg Conrad, Max Halbe, Hermann Sudermann, Otto Erich Hartleben, Georg Hirschfeld, the Berlin critics and theater leaders Otto Brahm, Rainer Maria Rilke, the composer Felix von Weingartner, Ricarda Huch, Eduard Graf von Keyserling, Ernst von Wolzogen, Franziska Reventlow, Frank Wedekind, Erich M┌hsam, Ludwig Ganghofer, Ludwig Thoma, Richard Strauss, Hans Pfitzner, Bruno Walter, Hermann Levi, Hans Knappertsbusch, Siegmund von Hausegger, the painters Franz von Stuck, Frederick August von Kaulbach, Olaf Gulbransson, Hugo von Hofmannsthal, Tilla Durieux.
1893
Her first naturalistic play "Wir Drei"
1893

Im S. Fischer Verlag erscheint ihr Schauspiel "Dämmerung", Aufführung im selben Jahr an der "Freien Bühne" in Berlin

1894

Birth of her daughter Eva. Achieves a big success with the neo-romantic fairy tale "Königskinder"

1897
The melodrama "Königskinder" is performed at the Munich Hoftheater. Then in 130 theaters.
1898
Birth of her son Hans Heinrich.
1908

Elsa Bernstein's drama " Maria Arndt " is played at the Munich Schauspielhaus.

1910

First performance of the "Königskinder" , with music by Engelbert Humperdinck, at the Metropolitan Opera in New York.

1911

"Achill", a drama, is part of the Munich Hoftheatercourt program.

as of 1910

Elsa Bernstein's literary productivity drops.
She writes three plays in the following that will never be published or played.

1912
Elsa Bernstein moves to Paris for a year with(her 18-year-old daughter,
so she can be taught violin.
1918
Elsa Bernstein under the threat of turning blind.
1919
25-year-old Eva marries Klaus Hauptmann, a son of Gerhart Hauptmann.
1925
Max Bernstein dies. Elsa Bernstein continues the salon.
1933
Her son emigrates to the USA ?
1939
Elsa Bernstein must terminate the salon and move to Barerstrasse, then to Schellingstraße.
1941
In November Elsa Bernstein rejects a departure to the USA because her sister Gabriele Porges is not allowed to go. Her visa was arranged by Winifred Wagner.
25 Juni 1942

She is sent with her sister to the concentration camp of Dachau.

26 Juni 1942
Deportation to the concentration camp of Theresienstadt.
1945

Liberation from Theresienstadt. Until her death, Elsa Bernstein lives with her daughter in Hamburg, Gustav Leo Str. 4.

12 Juli 1949
Elsa Bernstein dies.
The urn is transfered to the grave of her parents in Munich, East churchyard.
On the tombstone her name is not visible anymore, but only that of her father.

Source : Elsa Bernstein - Das Leben als Drama - edition ebersbach - Dortmund - 1999


Max Bernstein

b. 12/05/1854, Fürth in Bayern
d. 10/03/1925, Munich

Pseudonym : Silas Marner

German author. Lawyer in Munich at the time of this publication (1902). Mostly a playwirght.
The most noteworthy of Bernstein's comedies are : "Coeur Dame", "Mein Neuer Hut", "Ritter Blaubart", "Unbefangen", "Alles in Ordnung", "Ein Guter Mensch", and "Ein Dunkler Punkt".
Of his dramas may be mentioned : "Dagmar", "Ruth", and "Gold". He also wrote a collection of short stories : "Kleine Geschisten", "Die Plauderei", and "Ein Kuss", as well as many miscellanies published either in newspapers or books. While Bernstein's works were very popular among the public, they were not noticed by the critics and the literary historians.
His wife is the playwright Elsa Bernstein.
Source : The Jewish Encyclopaedia (1902)


Married with Elsa Bernstein. The couple organized so-called "Sunday afternoons teas", a literary salon where writers, musicians, actors, painters and philosophers met. Elsa Bernstein continued the salon after Max Bernsteins death.
Source : Elsa Bernstein - Das Leben als Drama - edition ebersbach - Dortmund - 1999

He studied law at the universities of Würzburg , Heidelberg, Leipzig and Munich.
He settled as a lawyer in Munich in 1881 and had simultaneously a literary activity.
For many years, he was a theatre critic at the Munich newspaper "Neusten Nachrichten".
From a Jewish family, he converted to Catholicism and was appointed Court counsellor in 1907.

He published :

1881 " Mein neuer Hut " ( My new hat), comedy
1881 , 2-nd. Published 1884 " Dagmar " tragedy
1884 " Münchner bunte Mappe " (The multicolored briefcase of Munich)
1884 " Der kleine Hydriot " (Small Hydriot)
  " Münchner Hofschauspiel " (Théatre Royal of Munich)
1886 " Ein Kuss " ( A kiss)
1886 " Ritter Blaubart " (Knight Beard - blue), short story
1889 " Die erste Münchner Jahrausstellung " (The first annual exhibition of Munich)
1894 " Blau " ( blue) comedy
1897 " Mädchentraum " (Dream of a little girl) comedy
1898 " Mathias Sollinger "
1898

" Kleine Geschichten " (Footnotes of history) short story

1899 " Opfer " (Victims)
1901 " Mali "
1903 " Närrische Leut " Of crazy people, short story
1905 " Herrenrecht " (The right of the bosses) drama
1907 " Hertas Hochzeit " (Herta's marriage)
1907 " Die goldenen Schlüssel " (Golden keys)
1908 " Die Sünde " (The fished)
  " Endlich allein " (Finally only) Comedy
1911 " Die Hochzeitsreise " (The honeymoon)
1911 " Der gute Vogel " (The good bird)
1915 " Der Richter " (The judge) comedy
1915 " Ruhetag " (Break) comedy
1915 " Big Die Pause " (The ent' big act) Comedy (with O. Blumenthal)
1916 " Der goldene Spiegel " ( The gold-coloured mirror) Comedy (with L. Heller)
1920 " Der Kolibri " comedy

He was an opponent to the fight between realism and idealism and he believed that every orientation and shape of the artistic creation had its rights.


 
Gabriele Porges

b. Munich 26.11.1868
d. Theresienstadt 24.07.1942

Elsa Bernstein's younger sister.
During the years when the Bernstein couple held their literary salon, Gabriele was responsible for the well-being of the guests. After the death of Max Bernstein, Gabriele moved to her sister's home. She helped her in the continuation of the artistic salon as she became almost completely blind. When they were chased by the Nazis in 1939, Winifred Wagner obtained a visa to the USA for Elsa. Elsa, however, declined the offer, because her sister could not get a visa. Four weeks after their arrival in Theresienstadt on the June 25th, 1942 Gabriele died of intestinal infection.

[Elsa Bernstein - Das Leben als Drama - edition ebersbach - Dortmund - 1999]


Eva Hauptmann

née Bernstein
b. Munich 9.11.1894
d. Würzburg 23.9.1986

Elsa Bernsteins Tochter, Geigerin. Gab schon mit 14 Jahren öffentliche Konzerte. 1919 studierte Eva Bernstein ein Jahr in Paris bei Nadia Boulanger. Verheiratet mit Klaus Hauptmann (Heirat 1919), Sohn des Schriftstellers Gerhart Hauptmann, der ein Freund von Elsa war und in ihren literarischen Zirkel verkehrte.

Geburt des Sohnes Michael am 18.8.1920 in Berlin und Geburt der Tochter Barbara am 14.9.1922 (später verheiratete Siegmann) im Allgäu.

1924 ging Eva Hauptmann mit ihrem Mann und den Kindern nach Hamburg.
1925 begann sie am Voghtschen Konservatorium an der Rothenbaumchaussee zu unterrichten. Sie gründete außerdem ein Kammerorchester.
1927 staatliche Prüfung zur Violinpädagogin.
1935 aus der Reichsmusikkammer ausgeschlossen.

"In ihrer Not wendet sie sich auch an Winifred Wagner, die ihr in einem Brief vom 27.4. 1937 gute Ratschläge für ein Schreiben an die Privatkanzlei des Führers gibt: 'Dabei betonen Sie in erster Linie den starken Prozentsatz ihres arischen Blutes, denn soweit ich mich erinnere, sind Sie blond, hellhäutig etc. Schicken Sie ein Bild mit ein - es besteht eine Verordnung, wonach das Erscheinungsbild sehr oft ausschlaggebend bei Entscheidungen Ihrer Art ist. Sodann würde ich alle arischen Ahnen zusammenkramen - trotzdem aber die Verdienste ihres Großvaters um Wagner ins rechte Licht setzen. - Es hört sich alles schrecklich damlich an, was ich Ihnen da schreibe, aber Sie sollen wissen, daß ich Ihnen gerne helfen würde.'
(aus: "Eva Hauptmann zum 100. Geburtstag" Programmheft des Gedenkkonzerts am 27.11.1994, Hochschule für Musik und Theater, Hamburg, in Zusammenarbeit mit dem Nord-deutschen Rundfunk)

Elsa Bernsteins daughter, violinist.
Started giving public concerts at the age of 14.
In 1919 Eva studied a year in Paris with Nadia Boulanger. In 1919, married Klaus Hauptmann, son of the writer Gerhart Hauptmann who was a friend of Elsa and was a guest of in their literary circle.
In 1924 Eva Hauptmann moves to Hamburg with her husband and children.
In 1925 she starts teaching at the Voghtschen conservatoire at Rothenbaumchaussee.
Besides, she created a chamber orchestra.
1935 aus der Reichsmusikkammer ausgeschlossen. "In ihrer Not wendet sie sich auch an Winifred Wagner, die ihr in einem Brief vom 27.4. 1937 gute Ratschläge für ein Schreiben an die Privatkanzlei des Führers gibt: 'Dabei betonen Sie in erster Linie den starken Prozentsatz ihres arischen Blutes, denn soweit ich mich erinnere, sind Sie blond, hellhäutig etc. Schicken Sie ein Bild mit ein - es besteht eine Verordnung, wonach das Erscheinungsbild sehr oft ausschlaggebend bei Entscheidungen Ihrer Art ist. Sodann würde ich alle arischen Ahnen zusammenkramen - trotzdem aber die Verdienste ihres Großvaters um Wagner ins rechte Licht setzen. - Es hört sich alles schrecklich damlich an, was ich Ihnen da schreibe, aber Sie sollen wissen, daß ich Ihnen gerne helfen würde.'
(aus: "Eva Hauptmann zum 100. Geburtstag" Programmheft des Gedenkkonzerts am 27.11.1994, Hochschule für Musik und Theater, Hamburg, in Zusammenarbeit mit dem Nord-deutschen Rundfunk)
Eva Hauptmann was however forbidden to continue her musical activity and had to perform hard labour from April 1944 until the end of the war.
After the war she could resume her teaching activity at the Stadtischen school for music and theater . When the Hochschule für Musik und darstellende Kunst was created in Hamburg in 1950, she became a university lecturer.
In 1955 Eva Hauptmann was named professor.
In 1970 she retired from teaching.

Source : Elsa Bernstein - Das Leben als Drama - edition ebersbach - Dortmund - 1999


 
Hans Bernstein

Elsa Bersntein's son. "Rechtsanalt"
b. 1898
d. 18/2/1980

Emigrated to the USA in 1933 where he graduated in business management.
He sent money to his mother to support her financially.
He first married Else Geissmar ("Elsle", b. 17/4/1908 in Heidelberg). Second marriage with an English woman by the name of Marjorie.
Bersntein changed his name to Bernt-Atkinson.

Source : Elsa Bernstein - Das Leben als Drama - edition ebersbach - Dortmund - 1999