emphasis on musicology in Wöss's studies is not without significance.
It heightened his desire in giving a performance true to the composer's
intentions. This education laid the foundation that made him later a
prominent advocate of and a devoted performer of the works of Anton
Bruckner. In 1975 he conducted the first performance of the complete
Novak Edition of Symphony No. 4 with the Munich Philharmonic. This event
took place in the Bruckner Haus in Linz (Austria).
addition he studied as a private student under Felix Weingartner
(his subjects were violin and composition) and this is significant for
the way Wöss developed his style of conducting. Woess was not only
noted for his musical perception and exactness of interpretation, he
also had a remarkable memory and it is said that he conducted most (if
not all) classical works that were on his repertoire without a score.
His repertory was extensive and ranged from J.S. Bach to the more contemporary
the many famous orchestras which have played under his baton are: Swedish
Konsertforeningen, Augusteo Orchestra from Italy, L'Orchestre
de la Suisse Romande, Zürich Tonhalle-Orchester, the
Orchestra of the NHK (Japan; September 1951 August 1954
Principal Conductor), the Melbourne Symphony, and the famous
Salzburg Mozarteum Orchestra.
78 RPM recording of the Tonkuenstler Orchestra from before World
War II: Polyphon Record 100030 with Fantasy from "Cavalleria
Rusticana", Mascagni. It is not sure if this acoustical recording
from around 1923 was of the factual Tonkünstler Orchestra.
(From the SoundFountain Archive)
1938 on Kurt Wöss was a professor at the Musik Akademie
in Vienna. In order to have this post he had become a member of the
National Socialist Party (NSDAP, National-sozialistische Deutsche Arbeiterpartei).
Was this step taken out of a sincere conviction? Or did he join for
"practical reasons" because, as a 24 year old, he did not
want to jeopardize his career? In 1945 he was dismissed.
the years after the war he got involved with the Tonkünstler Orchestra
and - apparently after he had been cleared - he became its principal
conductor from 1948 on until 1951. On
recording covers and labels the Niederösterreichisches Tonkünstler
Orchester is the same orchestra as 'Orchestra of the Viennese Symphonic
Society' and 'Austrian Symphony Orchestra'. These names were probably
used for publicity reasons.
original Tonkünstler-Orchester was founded in 1907 in Vienna, but
soon after World War I had ended (1918) it had a difficult time and
was forced to merge with the Wiener Konzertverein. After the Second
World War the orchestra was newly organized. At the basis was the "Niederösterreichische
Landesorchester" which was renamed Tonkuenstlerorchester.
was Kurt Wöss who reinstated the Sunday Afternoon Concerts (that
had been an institution before the war).
Some well known and also famous names have swung the baton in front
of the musicians of the Tonkünstler Orchestra during Wöss's
reign and many after he had left for Japan. Among those were Gustav
Koslik who also can be found on the Remington label, Heinz Wallberg,
and Walter Weller (to name a few).
Wöss in his mid thirties conducting his Niederösterreiches
Tonkünstler-Orchester with solo violinist Walter Schneiderhan
in the Musikvereinssaal in Vienna in early 1950.
Picture courtesy Markus Hennerfeind, researcher of the Tonkünstler
was during 1950 and part of 1951, that the recordings with Kurt Wöss
were made for release on the Remington label. They were produced by
Marcel Prawy. In 1951, Kurt Wöss went
to Japan to be principal conductor of the Symphony Orchestra of the
Japanese National Broadcasting Corporation (NHK, Nippon Hoso Kyokai),
which is the most important orchestra of Japan. It was Kurt Wöss who
introduced the Japanese audience to Western (European) music, even before
Herbert von Karajan did. In Japan and also later in Australia, he often
conducted Bruckner Symphonies, he even performed twelve tone compositions
Remington period, recordings of his orchestra were also made with other
conductors: Hine Arthur Brown, Kurt Randal, Hans Wolf, George Singer,
and others. After Kurt Wöss had left Vienna, recordings were made under
the baton of Gustav Koslik, Wilhelm Loibner, a.o. By the time Wöss
left Tokyo in 1954 and returned to Vienna, Remington Records was no
longer procuring recordings made in Austria. Don Gabor had signed a
contract to make recordings in Berlin with the
RIAS Symphony Orchestra.
a period of about two years, during which Kurt Wöss conducted concerts
in the USA as well, he took up the post of conductor of the Melbourne
based Victorian Symphony Orchestra until 1960. From 1961 till 1968 he
was director of the Opera of Linz, and he was principal conductor of
the Linz Bruckner Orchestra from 1961 till 1974, while his wife, Dr.
Margarethe Wöss, was music director in Linz from 1963 until 1987.
his career Kurt Wöss also appeared as a guest conductor of orchestras
in other countries: L'Orchestre du Conservatoire de Paris, Seoul Philharmonic
Orchestra, Bratislava Philharmonic Orchestra, Berlin Municipal Orchestra,
Slovak Philharmonic Orchestra, and many more.
Kurt Wöss died in Dresden on December 4, 1987, when he was billed
to conduct Bruckner's Fourth Symphony.
Remington recordings of Kurt Wöss:
Beethoven: Emperor Concerto with pianist
(Released in 1950) (Plymouth P-12-11.)
Schubert: Symphony No. 1, Mozart: Fantasia
Grieg: Piano Concerto Op. 16 with Felicitas Karrer (Released
1950.) The Masterseal release of the same recording was pressed
from Remington plates, first with the Masterseal label and later
with the Remington Musirama label, but without a reference number.
R-199-7 Beethoven: Symphony No. 6
Beethoven: Symphony No. 7
(Cover by Rudolph de Harak)
Tchaikovsky: Symphony No. 5
Richard Strauss: Don Juan, Tchaikovsky: Overture 1812
Tchaikovsky: Violin Concerto with
Michèle Auclair (reissued on Masterseal MSLP
Sibelius: Finlandia, Mozart: Overture to Thamos
Rachmaninoff: Piano Concerto No. 2 with Felicitas Karrer (Released
1951.) (Plymouth P-12-12.) The first movement can also be found
on Twilight Concert No. 2, catalog number R-199-115.
Schubert: Symphony No. 4 "Tragic"
second cover - by Alex Steinweiss - for the recording of Schubert's
Brahms, Symphony No. 4
R-199-46 Mozart: Concerto for Violin and Orchestra in D
Schubert, Symphony No. 9,
RLP-199-54 Mozart, Sinfonia Concertante for oboe, clarinet,
horn, bassoon and Orchestra. Coupled with two movements of incidental
music to "Thamos, Koenig in Aegypten", conducted by
R-199-87 Tchaikovsky: Ouverture solennelle (re-release),
R-199-88 Tchaikovsky: Romeo and Juliet (Overture-Fantasia)
and Ippolitov-Ivanov: Caucasian Sketches (Released November
R-199-97 Johann Strauss: Waltzes (4), coupled with Joseph
Strauss "Dynamiden" conducted by
Mozart: Jupiter Symphony
R-149-18 Rossini: William Tell and Barber Of Seville
Overtures, Bizet: Carmen Prelude
RLP-149-20 Paganini: Violin Concerto Op. 6 with Ivry
Gitlis plays Fritz Kreisler's completely reorchestrated first
movement of Paganini's First Violin Concerto, which is rarely
recorded; and it is only the one movement version spread over
two sides of a 10" disc.
Sibelius: Finlandia, Mozart: Thamos König in Aegypten
R-149-27 Famous Polkas and Waltzes - Strauss (apparently
also listed as Famous Operetta Marches)
Ippolitov-Ivanov: Caucasian Sketches
Schubert: Symphony No. 6
Tchaikovsky: Fantasy Overture 'Romeo and Juliet' (also appeared
on R-199-88 coupled with Ippolotov-Ivanov's Caucasian Sketches
that appeared on R149-28. Fantasy Overture 'Romeo & Juliet'
was also released as Masque M0.017, but then coupled with Capriccio
Italien by Rimsky-Korsakov and Procession of Bacchus by Delibes,
both conducted by Ernst Mehlich)
R-149-49 Tchaikovsky: Nutcracker Suite
RLP in the reference numbers of the early releases was later
changed into R. So RLP-149-25 is the same as R-149-25.
a Masterseal MSLP 5008 from around 1957, Beethoven's Symphony
No. 5 and Schubert's Symphony No. 8 can be found, whereas there exists
no Remington disc with this coupling conducted by Wöss.
Fifth was released on a 10" disc (R-149-9) with the Salzburg Mozarteum
Orchestra conducted by
Wolf and Schubert's Eighth was originally a recording with conductor
H. Arthur Brown (R-149-15). The name Wöss was probably a convenient
substitute, especially when Brown had fallen from grace.
for so many artists and conductors who appear on the Remington label,
also the performances of Kurt Wöss are "handicapped by a second
rate orchestra and mostly a poor recording quality", as Warren
DeMotte wrote in
Long Playing Record Guide.
must be other performances of Wöss recorded in Austria, Sweden,
Australia and Japan. In recent years more recordings of Kurt Wöss
have been made available, mostly from broadcasts, and have probably
been transferred to CD: Bruckner, Wagner, Mozart.
Wöss at 60.
(Image taken from the Dutch record review "Luister...",
is a technically well recorded Telefunken 'Royal Sound' Stereo LP from
the early stereo days on which Wöss conducts the Bamberg Symphony
Orchestra in popular pieces by Bizet, Tchaikovsky, Bruch (with violinist
Henri Lewkowitz), Glazunov, Weber and Grieg (Telefunken SLE 4 450-P).
recording of Bruckner's Fourth Symphony by Woess and the Munich Philharmonic
which can be found on Bruckner Haus Linz LP 2/12430-315. It is
of the original version composed in 1874, edited by Leopold Nowak, published
in 1975. Robert McColley wrote that this version is quite different
from the later versions, and especially so in the case of the scherzo
which is an entirely different movement. The 1874 version has now been
recorded several times, but the recording by Woess was the first and
is still regarded as one of the best.
exists a private issue on CD, Lucky Ball LB 0010 S, of Bruckner's
Symphony No. 9 with Kurt Wöss conducting the Vienna Tonkuenstler
OPUS Stereo 9116 0693, (from Slovakia) Wöss conducts the Slovak
Philharmonic in 'Operetta Overtures' - Fledermaus/ The Bat (Johann Srauss),
Parisian Life/La vie parisienne (Offenbach), Beautiful Galathea/Die
schöne Galathea (Von Suppé), The Land of Smiles/Das Lands
des Lächelns (Lehar), Overture (Nedbal) and Czardas Princess/Czardasfürstin
(Kálmán). It was recorded in the Slovak Philharmonic Concert
Hall in Bratislava in February 1979.
A. Bruil. Page created and first published in the fall of 2000