Synonyms for wildgans or Related words with wildgans

schmeckenbecher              kolig              immermann              borchmeyer              wassili              thematisch              dorfer              rottensteiner              greindl              dermota              mazura              mitterer              munggenast              aueralois              golser              orgusaar              wolfskehl              demantius              gawliczek              weinheber              muschg              schwabl              dziony              kieling              reschke              lehmden              aschenbrenner              bursche              granichstaedten              meistermann              gildewart              zellhofer              genazino              blumauer              doderer              skrebensky              kasack              bockelmann              medek              eulenberg              kronawitter              polnische              musiol              besier              kelterborn              kostan              ratheysergerald              warski              diesterweg              cerha             



Examples of "wildgans"
The award is dedicated to Anton Wildgans who, "like few others, embodied Austrian values in their best sense."
One of his teachers was the Austrian Jewish philosopher Wilhelm Jerusalem. Wildgans was the mentor of writer Albert Drach.
His full translation of Wildgans' "Die Sonette an Ead", with the title "Poeme către Ead", came in 1933, also with Editura Vremea. The work won praise from essayist and literary chronicler Ovidiu Papadima, who wrote for the magazine "Gândirea" that Bonciu was a "precious" and thoughtful translator, whose versions were more polished than Wildgans' originals.
Among his students were the writer Stephan Hock, the politician Karl Renner, the composer Viktor Ullmann, the poet Anton Wildgans and Otto Felix Kanitz.
In 1936 he collaborated with Marcel Rubin and Friedrich Wildgans to organize a series of concerts in Vienna, entitled "Music of the Present".
Anton Wildgans (17 April 1881–3 May 1932) was an Austrian poet and playwright. He was born in Vienna, and died in Mödling.
It was not the only proposal for a new Austrian national anthem. Anton Wildgans asked Richard Strauss to set one of his poems, "Österreichisches Lied" ("Austrian Song"), to music. Although Strauss did so, the music to the poem did not become popular. Here are excerpts of the poem:
The Anton Wildgans Prize of Austrian Industry is a literary award that was endowed in 1962 by the Federation of Austrian Industry. The prize is worth 10,000 Euro and is granted by an independent jury to a young or middle-aged writer of Austrian citizenship.
In 1920 his first volume of lyric poetry appeared, „Der einsame Mensch“ ("The Solitary Man"). Weinheber was principally under the literary influence of Rainer Maria Rilke, Anton Wildgans and Karl Kraus. He was on most friendly terms with his author-colleagues Mirko Jelusich and Robert Hohlbaum. From 1931 until 1933 and from 1944 Weinheber was a member of the Nazi Party.
In addition to subsidies and awards financed and organized by the Austrian and federal governments, several smaller literary prizes award Austrian and other German writing authors. Alfred-Gesswein-Literaturpreis, Erostepost-Literaturpreis, Franz-Kafka-Preis, Feldkircher Lyrikpreis, Wiener Werkstattpreis, Anton-Wildgans-Preis, and Manuskripte-Preis belong to this aspect of Austrian literature.
At the beginning of the 20th century, Braun belonged to the movement known as Young Vienna, where he found the company of such innovative writers as Stefan Zweig, Anton Wildgans, and Max Brod. Braun was a Neo-Romantic, who wrote refined, cultivated poetry in multiple forms. His work centered around the themes of religion, classical antiquity, and his Austrian homeland. Braun also served as secretary to the great Austrian writer Hugo von Hofmannsthal and formed a close friendship with his employer.
Many distinguished lecturers appeared at Darmstadt. Amongst them are Theodor W. Adorno, Milton Babbitt, Luciano Berio, Pierre Boulez, John Cage, Christoph Caskel , Morton Feldman, Wolfgang Fortner, Severino Gazzelloni, Alois Hába, Hans Werner Henze, Hermann Heiss, Lejaren Hiller, Rudolf Kolisch, Aloys Kontarsky, Ernst Krenek, René Leibowitz, György Ligeti, Bruno Maderna, Olivier Messiaen, Luigi Nono, Siegfried Palm, Henri Pousseur, Heinz Rehfuss, Wolfgang Rihm, Hermann Scherchen, Eduard Steuermann, Karlheinz Stockhausen, David Tudor, Edgard Varèse, Friedrich Wildgans , and Iannis Xenakis . However, according to one source, although Messiaen paid "a brief visit" to the courses in 1949, "he neither taught students nor lectured" there .
His mansion in Hinterbrühl became a meeting point for Jewish families and non-Jewish opponents of National Socialism, for example the pianists Erna Gál and Isa Strasser, as well as Ernst Wildgans, the Przibrams and Dr. Ella and Kurt Lingens. If someone was in danger of getting captured by Gestapo, he would harbour them and he helped a lot of them to emigrate. In the autumn of 1939 he founded a resistance group with some friends, (including Ella and Kurt Lingens and Robert Lammer) He continued the study of medicine, but due to his Jewish origins he was forbidden to become a psychotherapist.
Reichart developed into a well-known Austrian writer after the release of "February Shadows", a historical novel which dealt with the Mühlviertler Hasenjagd ("The Rabbit Hunt of the Mill District"), and has since produced five novels, a book of short stories, several dramas, and a collection of radio plays. In 1993, she received the Austrian National Prize for the Promotion of Literature and in 1995, she was awarded the prestigious Elias Canetti Grant, named for Nobel Prize winner Elias Canetti. In 2000, she received the Anton Wildgans Prize.
In 1920, Bonciu resumed his contribution to "Rampa", where he published his translation of poems by Anton Wildgans. That year, he also returned to Vienna, but was still included as a member of "Rampa"s editorial staff; in 1921, he inaugurated a long period of activity with another Romanian-based literary newspaper, "Adevărul Literar și Artistic". Having established his reputation as a journalist, Bonciu became a regular columnist: his letters, headlined "Mișcarea artistică de la noi și din străinatate" ("The Art Movement in Our Country and Abroad"), ran in several national newspapers. Among the major periodicals who hosted his work over the next decade are "Viața Românească", "Facla", "Azi", "Meridian", and Isac Ludo's "ADAM" review. He also began using a number of pen names, including, in addition to "H. Bonciu", "Sigismund Absurdul" ("Sigismund the Absurd")—effectively, his literary alter ego. The other pseudonym he used was "Bon-Tsu-Haș".
The main mix of influences, however, comes from the iconoclastic cultures of Secessionist Vienna and the Weimar Republic, with whom Bonciu was personally familiarized. Exegetes have identified in "Bagaj..." the echoes of writers translated by Bonciu (Altenberg, Petzold, Wildgans), but also from other such sources, including Hille. Furthermore, Crohmălniceanu sees the novel as incorporating elements from a literary branch of the "New Objectivity" movement: Klabund, but also Erich Kästner, as authors of "atrocious, sarcastic, grotesque and brutal realism". Glăvan too sees an analogy between Sinidis' grim reflection on war and landscapes by "New Objectivity" master Otto Dix. Others see the nightmarish protagonists as cultural echoes from the "Bizarre Pages" of Romanian absurdist author Urmuz.
Sindis' recurrent obsession is death, and he prophesies in detail about being an out-of-body witness to his funeral service and incineration, content that the flames would also consume his parasite. His tormented life is intertwined with those of desperate anti-heroes, including a gout-afflicted man who severs his own fingers, or a driller who was burned alive. When read as a camouflaged record of actual events in Bonciu's life, the novel reveals his claims about having been a witness to Vienna's artistic life under the Double Monarchy: Viennese writers such as Altenberg, Petzold, Wildgans, Peter Hille, Hugo von Hofmannsthal, Arthur Schnitzler, Stefan Zweig appear as characters, and Endre Ady is a literary prototype. In one section of the book, Ramses discovers the beautiful Hilda, who is a painter, a muse, and the living artwork of Egon Schiele, and who ends up being eaten alive by her creator; before this happens, Hilda, Schiele and Ramses become entangled in a sadomasochistic "ménage à trois".
Manny Laureano (born August 17, 1955) is the Principal Trumpet of the Minnesota Orchestra, as well as the Co-Artistic Director of the Minnesota Youth Symphonies. Laureano began his musical studies in the New York City public school system and received his Bachelor of Music Degree from the Juilliard School in 1977. He was appointed Principal Trumpet of the Seattle Symphony, where he performed various solo works, including the rarely played concerto by Michael Haydn. He held this post he held for four years before serving in his current position as principal trumpet with the Minnesota Orchestra. He has appeared numerous times with the Minnesota Orchestra as soloist playing concertos by Haydn, Hummel, Arutunian, and Tomasi. He also performed the American premiere of the concerto by Viennese composer Friedrich Wildgans along with Leonard Slatkin conducting in Minneapolis in 1983. He has performed as soloist with a variety of ensembles throughout the United States including the Des Moines Symphony Orchestra, the South Dakota Symphony, and the Chamber Orchestra of the Springs in Colorado.
Heinrich Kanner attended high school and studied at the University in Vienna. Initially, he was a correspondent for the "Frankfurter Zeitung" in Vienna. In 1894, Kanner founded together with the economist Isidore Singer, and the writer Hermann Bahr, the weekly newspaper "Die Zeit". What "Die Zeit" differed from all that time in Austria-Hungary, published liberal newspapers, was the deviation from the foreign policy of the German-Austrian alliance. Employees of "Die Zeit" were people like Bertha von Suttner, Theodor Herzl, Thomas G. Masaryk, Felix Salten and Anton Wildgans. Hermann Bahr was the head of the cultural arts pages, script manager was Grethe Schmahl-Wolf. In 1904, "Die Zeit" turned to a daily newspaper, which appeared until 1918, and in the time of World War I was subject to strict censorship measures. Even during the Great War Heinrich Kanner started his research for the question of the war guilt. For this purpose during the war, he interviewed a number of prominent representatives of public life, including Leon von Bilinski, who was shared Finance Minister of the monarchy from 1912 to 1915, and has participated in key meetings and discussions on foreign policy during this period. Bilinski testified in talks with Kanner that Emperor Franz Joseph was determined since the spring of 1913 to authorize necessary action in the Balkans without consultations to the risk of a clash with Russia. After the Great War Kanner worked as a political journalist on to the political questions of the First World War, he visited several times the National Archives in Vienna, to study the preserved original records.