Felix Von Weingartner

(redirected from Felix Weingartner)
Also found in: Wikipedia.
The following article is from The Great Soviet Encyclopedia (1979). It might be outdated or ideologically biased.

Weingartner, Felix Von


Born June 2, 1863, in Zadar, Croatia; died May 7, 1942, in Winterthur. Austrian conductor, composer, and writer on music.

Weingartner received his musical education at the Graz and Leipzig conservatories (1881-83). He made his debut as a conductor in 1883. After advanced studies with Liszt in Weimar, Weingartner was an opera and concert conductor in many German cities from 1884 to 1903 and 1912 to 1919. From 1908 he lived in Vienna. He was director of the Vienna Court Opera until 1911, director of the Vienna Philharmonic Orchestra until 1927, and director of the Vienna Volksoper from 1919 to 1924. From 1927 until 1933 he was director of the conservatory and conductor in Basel. He gave performances in many countries, including the Soviet Union. (He had come to Russia for the first time in the 1890’s.)

Weingartner was one of the greatest representatives of the German school of conductors. His art was distinguished by classical perfection and the brilliant manifestation of intellectual principles. He was an outstanding interpreter of the music of Beethoven, Berlioz, Wagner, Tchaikovsky, and Borodin. Weingartner wrote works of music, including eight operas and seven symphonies.


Die Lehre von der Wiedergeburt und das musikalische Drama. Kiel-Leipzig, 1895.
Über das Dirigieren, 4th ed. Leipzig, 1913.
Ratschläge für Aufführungen klassischer Symphonien, vols. 1-3. Leipzig, 1918-28.
Akkorde: Gesammelte Aufsätze. Leipzig, 1912.
“Eine Künstlerfahrt nach Südamerika.” Tagebuch, June-November 1920. Vienna-Leipzig, 1921.
Lebenserinnerungen, vols. 1-2, Zürich-Leipzig, 1928-29.
“Fr. Liszt as Man and Artist.” Musical Quarterly, 1936, vol. 22, no. 3.
In Russian translation:
O dirizhirovanii. Leningrad, 1927.
Ispolnenie klassicheskikh simfonii: Sovety dirizheram, vol. 1. Moscow, 1965.


Nik, F. “F. Veingartner.” Russkaia muzykal’naia gazeta, 1898, no. 10.
Krause, E. F. Weingartner als schaffender Künstler. Berlin, 1904.
Evans, E. “F. Weingartner.” Musical Review, 1942, no. 3.
Weingartner-Studer, C. “Souvenirs sur F. Weingartner.” Feuilles musicales, 1958, no. 10; 1959, no. 1.


The Great Soviet Encyclopedia, 3rd Edition (1970-1979). © 2010 The Gale Group, Inc. All rights reserved.
References in periodicals archive ?
The long legato sections were already problematic for me in the slow movement of the Brahms: they breathe a fin du siecle atmosphere, but I am not sure what the reaction to these interminable arches of Wagnerian legato would be in the case of Felix Weingartner or Brahms himself, who certainly favoured more concise phrasing.
In preparation for a performance of his Eighth Symphony, Anton Bruckner (1824-1896) asked conductor Felix Weingartner (1863-1942) to observe the cuts he had marked in the score.
After all, Johann Strauss II was a friend of Brahms and Wagner, was admired by many composers including Schoenberg, and the great Viennese conductor Felix Weingartner always found "something tragic" in the music.
Felix Weingartner took the symphony on tour around Germany with equal lack of success, and at the final concert was so beset with a stomach upset that he had to retire from the platform for a time, returning only to conduct the finale - whether this was the result of a poor lunch, or nervous reaction to the restive audiences, we are not told.
The Braunschweig scores; Felix Weingartner and Erich Leinsdorf on the first four symphonies of Beethoven.
For instance, conductors such as Felix Weingartner and Wilhelm Furtwangler favored arppegiating opening chords, such as the first bars of the Beethoven Third or Seventh--the lower choirs would enter a millisecond before the rest of the orchestra, resulting in a rush of sound rather than a simultaneous chordal blast.
I was a cult follower of Sir Thomas Beecham (whose recording of The Magic Flute is still one of the great interpretations), Toscanini, and Felix Weingartner. Rosenzweig's view of Schubert and Mahler as the pinnacle of musical achievement matched mine perfectly.
Espinosa was enrolled for a time at the Royal Conservatory in Milan, studied with the celebrated conductor Felix Weingartner in Basel, and graduated with the title of Konzertmeister from the prestigious Hochschule fur Musik in Berlin.
The first conductor in this book is Wagner himself in the section entitled "Setting the Stage." This is followed by "Wagner's Pupils" (Hans von Bulow, Hans Richter, and Anton Seidl), "Early Bayreuth Masters" (Hermann Levi, Felix Mottl, and Karl Muck), "A Touch of Russia" (Arthur Nikisch and Albert Coates) "Vienna Lights" (Gustav Mahler, Felix Weingartner, and Bruno Walter).
The loss of a major part of the German public meant the beginning of the end for the German theatre in Brno, but even so there were some important events, such as the appearance of the Viennese Volksoper in November 1919 with Felix Weingartner and the production of Mozart's opera The Abduction from the Seraglio.
Reconstruction, as evidenced by Elsholz's score, is a process little practised on Schubert fragments since Felix Weingartner "reconstructed" the Seventh Symphony (by which I mean D.
Charles Malberbe and Felix Weingartner [Leipzig: Breitkopf & Hartel, 1900-- 1907; various reprints], hereafter OBE), felt that the composer had simply forgotten the con sord.