Lucien Levy-Bruehl, Albert Einstein, Franz Oppenheimer, Arthur Liebert and his son, Paul Tillich, unidentified woman and Mrs. Charles Blondel outside the Grand Hotel Curhaus during the Davoser Hochschulkurse; Davos, Switzerland Portraits Groups

The Davoser Hochschulkurse took place for the first time in 1928. Mainly university teachers from Germany, France, Switzerland (perhaps elsewhere) offered lectures to students recovering from tuberculosis at the health resort in the Swiss mountains. The lecturers were accommodated at the Grand Hotel Curhaus, where the lectures also took place.

Henriette Gottschalk nee Rothschild with her grandson Franz Catzenstein at the dining table in her garden.

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Studio portrait of Franz Matthiesen; London Portraits Men

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Portrait of Franz Matthiesen; London Portraits Men

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Portrait of Franz Catzenstein with his uncle Ernst Gottschalk.

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Portrait of Franz Catzenstein and his little sister Ellen. Portraits Children

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Portrait of Aenny Catzenstein nee Gottschalk holding her infant son Franz Portraits Family

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Portrait of Franz Matthiesen.

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Studio portrait of Franz Matthiesen Portraits Men

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Franz Matthiesen outdoors with his second wife Katherina Früh outside of Franz's Carton Hill home; London.

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Franz Matthiesen and his mother Aenny Catzenstein nee Gottschalk; Oslo Court, London.

At the time Franz was ill with cancer but Aenny did not know.

Portrait of Franz Trolldenier; Employee of Mendelssohn Bank, Berlin Portraits Men

"11.4.1889 Franz Trolldenier geb. 5.12.1866"

Portrait of Franz Koch; Employee of Mendelssohn Bank, Berlin Portraits Men

"15.8.1896 Franz Koch geb. 14.9.1860 gest. 21.10.1927"

Franz Kafka. Der Prozess (The Trial). A Bilingual Dramatization.

Herbert Lederer

La recepción de Franz Liszt en Rusia: entre los mitos stasovianos y las composiciones modernistas

Resumen: Este trabajo explora los diferentes modos en los cuales la figura y la obra de Franz Liszt fueron recepcionadas en la Rusia del siglo XIX por teóricos y compositores. A partir de las visitas que el compositor húngaro realizó a Rusia durante la década de 1840, su figura fue utilizada por el crítico Vladimir Stasov para caracterizar y legitimizar a través de un relato cargado de mitos la tradición musical que recién nacía en Rusia. Esta imagen condicionó y limitó durante casi todo el siglo XX el acercamiento al estudio de la música de ese país. La obra de los compositores modernistas en Rusia, sin embargo, demuestra que la recepción de Liszt, y así el devenir de la música rusa del siglo XIX, estuvo bastante lejos de la caracterización canónica propuesta por Stasov.