Josef Urban's one thought is to get away – so a car with the key left in the ignition offers the very chance. It is not his car, but this matters to him just as little as the fact that he has no driver's licence. He soon realises, however, that there is a girl asleep on the back seat. When she wakes up he tells her to get out, but she refuses.
Maria, a schoolgirl, is the lover of the RI teacher to whom the car belongs. She is pregnant, and has little sympathy with the victim of the theft. She can understand Urban's escape attempt, however. The border is closer that they realise, and they suddenly find themselves in Italy. Josef is enjoying the trip and the company; but he cannot avoid feeling responsible for the girl – a thankless role, especially as it is hardly consistent with his love for the absurd.
Nominated for the German Book Prize 2005 (Longlist)
Barbara Frischmuth's stirring début: the narrow world of a Catholic boarding school, the pupils and their aspirations, the teachers and their rules – the expression of a strict upbringing designed to restrict freedom of feeling, thought and action.
The dorm is the place where we spend the night.
Out of the profusion of sayings, maxims and clichés, the true voice of the girls – no less skilfully inserted – occasionally breaks through. Barbara Frischmuth assumes the role of spokeswoman for a collective body, without identifying herself with it. The irony is unmistakable.
Paul Kruntorad, Nürnberger Nachrichten
On the creation of the world and the things in it.
In the beginning was... – Let the account of what it was and how it was be reserved for other books. But how it might have been – who better to tell us this than the author of these fantastic stories. You will be amazed at what Moses and Darwin kept quiet! He shot at a fish and hit a bird, for in the beginning there was only sky and water; and he brought the bird to his wife, who fashioned a cradle from the feathers, and so the first son came to be.
In this book Peter Henisch, taking the example of the special relationship between himself and his father (a well-known press photographer in his days), reflects on the general background to the generation conflict that was aggravated by World War II. Here is a son who asks, and a father who answers. The narration is overshadowed by a terminal illness, but it is a vivid discussion, as well as the record - however conflicting the attitudes of mind - of a mutual Paperbackroach. The result is largely an examination of problematic attitudes towards reality: both the press reporter and the writer take reality as their raw material. First published 1975, this book has lost nothing through the lapse in time, but has rather gained in relevance. Residenz now presents this version, revised and (mostly in the final section) expanded by the author.
Bestselling author Dietmar Grieser shows Vienna as a location of picturesque Love stories. These are the stories of 20 couples of the 20th century - all of them celebrities of Austrian history, such as: Gustav Klimt & Alma Mahler Schindler, Rainer Maria Rilke & Lou Albert-Lasard, Egon Schiele & Edith Harms.
Once a year, on their wedding anniversary, Estes and Sophie meet in Venice for a revival of a marriage which is no longer a marriage. "As a man, one loves memories," says Estes – and after all, they did spend twenty years together. Sophie has already travelled to Venice with Schubert – not really a lovers' trip, since they do not even use the intimate "du" form to each other, but they still see themselves as a couple. Sophie had saved Schubert's life after his first suicide attempt. Months later, he gets up, showers, shaves and combs his hair, dresses in his black suit, takes his Winchester, reloads it, puts on a record of Rachmaninov's 3rd Symphony, drinks a triple cognac, lies down on his bed with the rifle at his side, takes an overdose of veronal and suffocates in a fit of hiccups. A strange and sad story.
Estes feels responsible for the death of Schubert, of whose existential suffering he was aware; he ought to have done something about it. Whereas others are all too ready to reject blame, Estes is almost manic in his attempt to take it upon himself. He can and will not resign himself to the inevitability of his friend's action, until he himself comes alarmingly close to death.
Nowadays this is all taken for granted. The classical music market is populated by whole droves of ensembles producing "original" sound, young musicians demonstrate their mastery on period instruments, and the term "Klangrede" [music as speech] has long become everyday usage. In 1953, when the cellist Nikolaus Harnoncourt and his wife Alice, a violinist, began a private artistic experiment together with a handful of interested colleagues, Early Music was uncharted territory. For four years, Harnoncourt and his friends rehearsed in their living-room, researching musical material and instruments, techniques and sounds until they were ready to venture into public performance. Insatiable curiosity, unseen assiduity and inexhaustible devotion to an idea whose success was unforeseeable characterised the early days, during which the Concentus Musicus of Vienna developed into an ensemble which had a determining influence on period style.
This book is intended to bring to life fifty years of adventure, during which a conspiracy of highly specialised musicians set new standards with each stage of their development, making interpretative history. Milan Turković, a member of Concentus, and Monika Mertl, Harnoncourt's biographer, examine all these various events in a balanced view from both inside and out. A CD with commentary by Nikolaus Harnoncourt accompanies the text.
This is the book of a Vienna-enthusiast who doesn’t seem to get tired to go through this city with open eyes. He lists a whole range of popular personalities, who also visited or lived in Vienna for several reasons. Protagonist are for example: Antonio Vivaldi, Mark Twain, Karl May, Bertold Brecht, Zhomas Bernhard or Gustav Klimt.