 | This article's plot summary may be too long or excessively detailed.(October 2022) |
This Salzburg is a guide book for people visiting Salzburg. It contains text by Count Ferdinand Czernin von und zu Chudenitz and drawings by Count Eugen Ledebur.
| This article's plot summary may be too long or excessively detailed.(October 2022) |
This Salzburg is a guide book for people visiting Salzburg. It contains text by Count Ferdinand Czernin von und zu Chudenitz and drawings by Count Eugen Ledebur.
This Salzburg: Being an incomplete introduction to the beauty and charm of a town we love was published in Austria and in England.
1937 – London: Peter Davies, xvi + 181 pp. (first edition).
1938 – New York: The Greystone Press, xvi + 181 pp. [1] The first American edition was bound in fabric taken from a traditional Dirndl.
[...]
1949 – Vienna: Frick, xvi + 181 pp. (fourth edition)
1951 – Vienna: Frick, xvi + 181 pp. (fifth edition)
Count Ferdinand Czernin was an Austrian aristocrat; his father was Ottokar Czernin, an experienced diplomat and foreign minister during World War I. Opposed to National Socialism early on, Ferdinand was associated with the Free Austrian Movement during World War II. He was an Austrian patriot, but not a nationalist, arguing that Austria had no genuine tradition of jingoistic nationalistism; what little of it there was, had been a result to distinguish Austrians from Germans during the 1930s. In a stance rare among aristocratic conservatives, he criticized the Roman Catholic Church for being anti-Semitic and slow to oppose Nazism. [2]
Count Eugen Ledebur was related to the author through his grandmother, she was born into the Czernin family and later married Count Johann Ledebur-Wicheln. [3] They were cousins.
The book contains twenty-one unnumbered chapters. The page numbers below are taken from the first edition.
Dedication (ix): The book is dedicated to Albert, Count of Saint-Julien-Wallsee (1889–1936), who died while Czernin was writing the book.
Apology (xi): The author apologizes facetiously to all people named in the book; he suggests true remorse, on the other hand, for those he neglected to mention.
Introduction (xiii-xiv): The recommended manner of reading and thinking about Salzburg – at least while reading this book – is to do so with humor. There is a veiled reference to other nations (perhaps Germany?) not being able to do so.
Why Salzburg? (xv-xvi): If it is the month of August, the author suggests, there is nowhere else to go but Salzburg. The book is written for people who either plan to visit, or enjoyed a past visit and wish to refresh their memories.
We Austrians (1-6): Czernin, himself the member of a once-powerful dynasty, does a riff on contemporary Austrian culture, noting the idiosyncrasies of the "national character." Many Austrians, he claims, are preoccupied with having once been a grand empire and now being citizens of a rather small country. The author alludes to economic problems and the fact that many tourists would be wealthier than the locals. He also satirizes clichés about Austrians being "one with nature."
How to go about getting to Salzburg (7-14): Referencing the notorious shortage of hotel rooms during the Festival, Czernin writes humorously about sending deprecatory letters to hotels and inns, including bribes from and photographs of the applicants, in order to acquire lodgings. He notes that most guests don't even know that Salzburg is not a part of the Tyrol, but its own county.
No advice as to where to stay (15-17): In keeping with his nonchalant style, the author refuses to provide a tour guide in the conventional sense. This chapter closes with an anecdote about King Edward VIII (he had not yet abdicated) and Marlene Dietrich.
Taking a house and being a P.G. (18-25): This chapter portrays Salzburg's thriving real estate market during the month of the festival. The abbreviation P.G. means "paying guest." Since many Salzburgians rented out rooms or even aristocratic manors, this chapter also goes into dealing with the landlord, who may indeed be a Gräfin (countess).
Living up to Salzburg (26-29): Since many visitors bought Tyrolean clothes upon arriving, Czernin insists that is it not necessary in order to be accepted. One does, however, need to learn how to order coffee with the correct vocabulary in Salzburg's cafés. Nor is being very wealthy a necessity for being accepted by Salzburgians.
That Salzburg dress question (30-40): Noting that women are expected to wear Dirndls and men Lederhosen, the author mentions the most fashionable places to purchase them. Evenings, however, are reserved for formal dress from Europe's haute couture .
That Salzburg atmosphere (41-43): This short chapter asserts a change in the city's ambience in the ten years before publication; the Salzburg Festival is made accountable for it.
A short cut through Salzburg history (44-57): A light panorama of the city's long history that dates back to the pagan Roman Empire. In a humorous assertion made for his English audience, Czernin notes that after the Roman phase, nothing much happened until "the English" rediscovered Salzburg. He is referring to the monk and missionary Wynfreth (also known as St. Boniface) in the seventh century.
A short lecture on architecture (58-73): Spanning the epochs from the Middle Ages to contemporary twentieth-century architecture, Czernin makes pithy characterizations of each school and points out highlights in Salzburg from every one of them. While not a fan of modern architecture, he does claim that Clemens Holzmeister's theater buildings are "interesting" and he praises the crucifix in the College of St. Benedict near St. Peter's Archabbey.
Who is this fellow Mozart? (74-80): Here the author uses a markedly critical tone, and admits at the end of the chapter that he has written it only because Wolfgang Amadeus Mozart has become such a staple of the Austrian tourism industry. Czernin recounts the various difficulties Mozart had with his employers, the various job offers he turned down, his flighty manner, romantic escapades, and remarkable genius.
A few pertinent remarks on the subject of the Salzburg Festival (81–98): It begins as a serious history of the festival and its beginnings, even before the first Jedermann in 1920, but the chapter soon veers off into comical statements, like Goethe having written Faust "for Reinhardt" (90).
Strolling through Salzburg (99–124): The author leads the reader on an imagined tour through several cafés and bars, among them the Österreichische Hof, the Café Bazaar, and the Savoy Bar. The walk is not limited to eating and drinking; Czernin leads his companion to the cemetery next to St. Peter's and notes that the place seems like a very good spot to await the Day of judgement.
A short chapter on sport (125–137): Not actually being interested in physical exertion, the author recounts motoring, hunting, and the chase for festival tickets as the sports he is most familiar with.
Losing money and liking it (138-142): At the time of publication, gambling and casinos were legal and popular in Salzburg. Czernin is particularly interested in describing a gambling locale on the Mönchsberg, in the Mirabell Hotel.
Salzburg surroundings (143-150): A recommendation to make excursions to the Gaisberg (ideally for the sunrise after a long night), Hellbrunn Palace, Leopoldskron Palace, several lakes (Mondsee, Attersee, Mattsee, Wolfgangsee), and resorts (Berchtesgaden, Bad Ischl).
Salzburg personalities (151-160): This chapter is mainly devoted to Max Reinhardt and Helene Thimig; Arturo Toscanini comes in at third place, and then a dozen performers and society figures are mentioned in passing.
Don'ts in Salzburg (161-164): Humorously noting that wearing Tyrolese clothes won't make anyone think you are a native, this chapter gives a list of other things to avoid: Don't forget your umbrella, don't disturb Max Reinhardt before noon (mornings being the only time he sleeps), don't claim to know a lot of Austrian aristocrats, don't pretend to have understood Goethe's Faust.
A short Salzburg dictionary (165-181): The appendix lists and defines the names of persons (usually performing artists famous at the time), places (usually for eating, drinking, or playing), and things (like "atmosphere" and "beer").
Goodbye (182): Acknowledging that his book is "absurd" and "idiotic," Czernin nonetheless hopes that readers have enjoyed it.
Kirkus Reviews called it "a lighthearted, casual guide" and noted that it provided a mixture of cultural background, gossip and insider details about the Salzburg Festival. The review concluded that although the books was not "a serious how-to-do-book," still, it was "helpful." [4] The Washington Post reviewed the first edition, calling it "a must für anyone has been to Salzburg," extending the recommendation to those making plans to visit the city, or even imagining a trip there. [5] Malcolm la Prade reviewed the first American edition, praising it as a "lively and entertaining description" of a city many Americans had visited in the past and were planning to visit that summer. He especially mentioned the dirndl cover and the Ledeburg drawings as successes. [6] Even 40 years after its publication, in 1978, Diana Burgwyn mentioned Czernin's book in her own book for tourists titled Salzburg: a portrait. [7]
see: http://worldcat.org/identities/lccn-nr2002042625/
In another collaboration with Count Eugen Ledebur as illustrator, Czernin published a short book (183 pp.) about hunting called Jagdfibel in 1938. [8]
A year later, Czernin published Europe going going gone! A sketchy book trying to give a rough explanation of Europe, its politics, and its state of mind, for the benefit mainly of Anglo-Saxons, politicians, and other folks with uncomplicated minds (London: Peter Davies 1939) xx + 310 pp. Walter Goetz provided the illustrations "to make things easier", as the subtitle states. [9] The book is a collection of verbal and graphic sketches of several European cultures. It was written shortly after the German annexation of Austria and during Hitler's rise to international popularity. The reviewer Meston called it "a wise and thought-provoking book," noting that Czernin made no secret of his Austrian patriotism and his severe criticism of National Socialism, summing up that "the conclusion is grave and ominous." [10]
Salzburg is the fourth-largest city in Austria. In 2020, it had a population of 156,872.
Max Reinhardt was an Austrian-born theatre and film director, intendant, and theatrical producer. With his radically innovative and avante garde stage productions, Reinhardt is regarded as one of the most prominent stage directors of the early 20th century.
Herbert von Karajan was an Austrian conductor. He was principal conductor of the Berlin Philharmonic for 34 years. During the Nazi era, he debuted at the Salzburg Festival, with the Vienna Philharmonic, the Berlin Philharmonic, and during World War II he conducted at the Berlin State Opera. Generally regarded as one of the greatest conductors of the 20th century, he was a controversial but dominant figure in European classical music from the mid-1950s until his death. Part of the reason for this was the large number of recordings he made and their prominence during his lifetime. By one estimate, he was the top-selling classical music recording artist of all time, having sold an estimated 200 million records.
The Salzburg Festival is a prominent festival of music and drama established in 1920. It is held each summer, for five weeks starting in late July, in Salzburg, Austria, the birthplace of Wolfgang Amadeus Mozart. Mozart's operas are a focus of the festival; one highlight is the annual performance of Hofmannsthal's play Jedermann (Everyman).
Princess Ileana of Romania, also known as Mother Alexandra, was the youngest daughter of King Ferdinand I of Romania and his consort, Queen Marie of Romania. She was a great-granddaughter of Emperor Alexander II of Russia, King Ferdinand II, Queen Maria II of Portugal, and Queen Victoria of the United Kingdom. She was born as Her Royal Highness Princess Ileana of Romania, Princess of Hohenzollern-Sigmaringen.
Countess Marie Kinsky von Wchinitz und Tettau was Princess of Liechtenstein from 13 November 1989 until her death in 2021 as the wife of Prince Hans-Adam II. By birth, she was a member of the House of Kinsky.
A dirndl is a feminine dress which originated in German-speaking areas of the Alps. It is traditionally worn by women and girls in Austria, Bavaria, Liechtenstein, Switzerland and Alpine regions of Italy. A dirndl consists of a close-fitting bodice with a low neckline, a blouse worn under the bodice, a wide high-waisted skirt and an apron.
Ottokar Theobald Otto Maria Graf Czernin von und zu Chudenitz was an Austro-Hungarian diplomat and politician during the time of World War I, notably serving as Foreign Minister from 1916 to 1918.
Clemens Holzmeister was a prominent Austrian architect and stage designer of the early twentieth century. The Austrian Academy of Fine Arts listed his life's work as containing 673 projects. He was the father of Judith Holzmeister.
The Thyssen family has notable members, all of whom descend from Friedrich Thyssen, who have established steel works, elevators and escalators, industrial conglomerates, banks, and art collections - Thyssen AG, ThyssenKrupp and ThyssenKrupp Marine Systems. Originating from Germany, family members have taken up residence in various countries.
The Salzburg Easter Festival is a classical music and opera festival held every year over the extended week before Easter in Salzburg, Austria since 1967.
Eberhard Freiherr von Waechter was an Austrian lyric baritone, celebrated for his performances in the operas of Mozart, Richard Wagner and Richard Strauss. After retiring from singing, he became intendant of the Vienna Volksoper and the Vienna State Opera.
Werner Johannes Krauss was a German stage and film actor. Krauss dominated the German stage of the early 20th century. However, his participation in the antisemitic propaganda film Jud Süß and his collaboration with the Nazis made him a controversial figure.
Archduke Gottfried of Austria, also styled as Gottfried Erzherzog von Österreich, was a member of the Tuscan line of the House of Habsburg-Lorraine, an Archduke of Austria, and Prince of Hungary and Bohemia. Gottfried assumed the title of titular Grand Duke of Tuscany, in spite of his grandfather Ferdinand IV's abdication of 1870 in favour to Emperor Franz Joseph.
Alfred, 2nd Prince of Montenuovo was one of the highest court officials of Emperor Franz Joseph I of Austria. Among his ancestors were members of the House of Habsburg and the Medici family.
Archduke Maximilian of Austria was a member of the House of Habsburg-Lorraine and the younger brother of the Emperor Charles I of Austria.
Heinz Hilpert was a German actor, screenwriter and film director. He was head of the Deutsches Theater during the Third Reich.
Zoe von Schildenfeld, née Nicolits was an Austro-Hungarian, later Austrian author.
Paris Lodron or Paris of Lodron, 13 February 1586 - 15 December 1653, was the Prince-Archbishop of the Prince-Archbishopric of Salzburg from 1619-1653.
Count Zsigmond Széchenyi of Sárvár-Felsővidék was a Hungarian hunter, traveler and writer. An outstanding figure of the Hungarian hunting culture. He hunted in Africa, India, Alaska and various parts of Europe. His outstanding hunting trophy is a world record addax. His hunting library is the collection of the most significant hunting textbook in Hungary, which can currently be viewed in the Hungarian Museum of Natural History.