Rabbi Israel Naphtali Hirsch Porges (b. Prague 1570, d. Prague 31/08/1639) (see Scholars)
Simon Simche Porges (1705<b.<1765)
Joseph Simon Porges (b. 1777)
Simon Josef Porges (see below)
Simon Josef Porges (b. Prague 04/03/1802, d. Mödling 04/09/1869) married Charlotte Lea Eva Tachau(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, d. 04/07/2014)
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 Bernstein
(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 Heinrich Bernt (Change of name) (b. 1898, d. 18/02/1980)
married Else Geissmar and Marjorie Atkinson
Ruth Bernstein Shimondle
Gabriele Porges (b. Munich 26/11/1868, d. Theresienstadt
24/07/1942)
Dr. Friedrich Porges
(b. Prague 1840, d. Vienna 06/03/1872)
married
Ottilie Hirschl.
(b. Bratislava 16/06/1850, d. Gmunden 20/09/1926).
Carl Porges (b.Prague 07/07/1836, d. Vienna 21/05/1920) Zentralfriedhof 1. Tor, 5b-15-22
married (1) Emma Mendelsohn (b. Vienna 14/12/1844, d. Vienna 17/02/1872 27 y. old))
Alfred Porges (b. Vienna 06/05/1869, d.?) Eugen Porges (b. Vienna 22/01/1872; d. Vienna 14/02/1885 13 Y. old)) Zentralfriedhof Tor-5b-15-22
married (2) Caroline Katharina
Grünbaum (b.Vienna 28/03/1852, d. Vienna 15/06/1927) Zentralfriedhof 1.Tor, 6-27-12
Emma Porges Salus (b. Vienna 12/10/1874, d. Bronx NY ca 1965) Son : Walter Bernhard Salus Arthur Porges (b. Vienna 19/11/1878, d. Holocaust Riga 06/02/1942) married Malvine Winter,
Residence Wien 3, Jacquingasse 6/10, daughter : Evi Porges Olga Porges (b. 24/04/1882, d. KZ Kaunas Lithunia 29/11/1941) Theodor Porges (b. Vienna 09/11/1891, d. Vienna 14/05/1894 (2 y. old)
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. 11/03/2004), married Marie (Mitzi) Stöhr (1885,1963)
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
SamuelStern
Mathilde
PorgesStern
Portrait of Samuel Stern
Anton Romako (1832-1889)
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
Portrait of Mathilde Stern, née
Porges, c. 1886
Anton Romako (1832-1889)
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)
Wagner,
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."
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
In 2015, a street in Munich was named after Heinrich Porges :
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.
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
MÚhsam, 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
Pseudonym
: Silas Marner (b.
12/05/1854,
Fürth in Bayern, d. Munichc10/03/1925)
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
(b. 1898, d. 18/2/1980) Elsa
Bersntein's son. "Rechtsanalt"
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
Richard Stöhr (11 June 1874 – 11 December 1967) was an Austrian composer, music author and teacher.
Born in Vienna, he studied composition with Robert Fuchs at the Vienna Conservatory.
After working there as a repetiteur and choral instructor from 1900, he taught music (theory of harmony, counterpoint, form) from 1903 to 1938, being professor from 1915.
Among his students were Alois Hába and Hellmut Federhofer.
He emigrated to the US in 1938 and taught at the Curtis Institute of Music in Philadelphia.
His students there included Leonard Bernstein.
He died in Montpelier, Vermont in the United States.
Was born in Vienna in the same year as Arnold Schoenberg.
His Jewish parents had come from Hungary.
As a young man he changed his name from Stern to Stoehr, converted to Christianity, but eventually fled to America in 1938.
Stoehr began composing at the age of six.
He first obtained an M.D. degree (1898) but quickly turned away from medicine.
After completing his studies with Robert Fuchs at the Vienna Academy of Music (now known as the University of Music and Performing Arts) where he earned a PhD in Music (1903).
He first worked there as a music coach and choir director and became a professor of music theory there in 1915, fulfilling those duties from 1915-1938.
During those 35 years Stoehr became a leading musical theorist publishing treatises and textbooks on harmony and musical form, some still in use today.
He also maintained a career as a concert pianist and he assured that virtually all of his compositions were published.
Before his exile there were hundreds of performances of his works annually in Europe.
Following the Anschluss (German annexation of Austria) in 1938 Stohr emigrated to the United States where he gained the position first as librarian (1939) then as professor of composition at the Curtis Institute of Music in Philadelphia.
Among his many students were included the young Leonard Bernstein, Daigara Arima, Erich Leinsdorf, Herbert von Karajan, Erich Zeisl and Samuel Barber.
The war effort put an abrupt end to that appointment.
Eventually he found a job at a small Catholic men's college in Vermont where he remained until his death.
Richard Stoehr was largely forgotten by the end of the 20th C., but students of musical theory continued to study his textbooks for decades.
None of the numerous compositions from his Vermont years was ever published.
Richard Stoehr's diary of more than six decades is stored in the Austrian National Library along with his published compositions.
The manuscripts from the post-emigration years are available at the Saint Michael's College Archive in Vermont.
His work encompasses choral music, chamber music, seven symphonies, symphonic poems, two operas, an oratoria and two cantatas.
While Schoenberg and others of the Second Viennese School were busy with atonality, Stoehr seemed hardly influenced by them.
Contemporary critics respected his music which maintained the tonal tradition of the 19th C.
In 2003 the City of Vienna dedicated a plaque at the site of his former residence at Karolinengasse 14.
In 2010 ORF (Austrian National Radio) released a Richard Stohr compact disc recording (CD 3093) of his String Quartet in D minor, Opus 22 from 1903 amongst other pieces.
His flute sonata is available on an David Shostac CD entitled Masterpieces Remembered.
In 2010 February his String Quartet was performed in Vancouver, Canada by the Vancouver Chamber Players for Rediscovered Treasures on the Out For Lunch concert series.
Simon Josef Porges (b. Prague 04/03/1802, d. Mödling 04/09/1869) married Charlotte Lea Eva Tachau(b.
1801, d. 04/09/1869) 
Richard Stöhr
Wagner,
Rehearsing the Ring.
