Roland Knie: A Voice of Austrian Radio

Roland Knie, born in Vienna in 1949, dedicated over 40 years too ​Austrian broadcasting.He served as a resident author at Simpl in Vienna and contributed considerably to‌ Ö1 as a speaker,director,and program designer. He is remembered through a 2013 radio reading of a‌ story by Albert Drach.

Albert Drach and “Official Act Against an Immortal”

The ​radio story featured the work of Albert Drach, specifically excerpts from “Official Act Against‍ an Immortal. The Little Protocols,” a collection of stories written between 1927 and 1961. these narratives‍ are characterized by their unsettling and frequently enough illogical scenarios.

Drach’s stories present a ‌darkly ironic view of fate and justice. For example, arthur Rimbaud, the subject of the “official act,” reports ‌a theft in Vienna only to be⁢ immediately deported. other “little protocols” ‍detail the grim‍ trajectory of a girl becoming a prostitute (“note of Becoming⁣ a Whore”) and a man wrongly accused of murder (“The Irony of Happiness”).

Drach’s Life ⁤and Literary Career

Albert Drach was born in Vienna in 1902 ⁣to a Jewish family. He emigrated in 1938, initially to Yugoslavia and then to France, due to the ​rising threat of Nazi persecution. The⁤ Jewish Virtual Library notes his legal background profoundly influenced his writing style and his critical viewpoint on society.

While ‍Drach published works before 1938, he achieved widespread recognition⁤ with the publication of “The Great Protocol‌ against Zwetschkenbaum” in 1964. He​ settled in Mödling in ⁣1948 and remained there until his death in 1995. His extensive literary output – encompassing novels, stories, poems,⁤ essays, ⁤and plays – earned him prestigious awards, ⁣including the Georg Büchner Prize in 1988 and‍ the Austrian Decoration ​of Honor for Science and Art in⁤ 1990.

the international Albert Drach Society was founded in 1996 ⁤and maintains a memorial dedicated to his work in Mödling. The Albert Drach Society’s‍ website provides further facts about his life and legacy.

Further Reading

The Commission and Context

In 1934, Princess Edmond de Polignac, heiress to the Singer sewing machine empire and a dedicated patron of the arts, commissioned French composer Francis Poulenc to write an organ concerto. This commission presented a unique challenge: how to integrate the organ, an instrument possessing the full spectrum of symphonic sound, into a traditional orchestra without creating imbalance or dissonance.

Poulenc, at the time, was deeply engaged with the music of earlier composers, having recently completed his “Concert champêtre” for harpsichord and orchestra.This experience informed his approach to the organ concerto, prompting him to explore innovative methods of blending the instrument’s capabilities with the orchestral palette.

Poulenc’s Innovative Approach

Poulenc’s solution, as described by organist Maurice Duruflé, was remarkably effective. Rather than attempting to force the organ into a subordinate role, Poulenc strategically utilized it to replace the orchestral wind instruments. this allowed the organ to perform the wind parts, resulting in a remarkably balanced and cohesive sound.

“All of the orchestra’s wind instruments were simply omitted, while the organ was allowed to play their parts. … This results in a thoroughly orchestral style of writing of perfect balance,astonishing presence and an overall sound of homogeneity,suppleness,variety and unusual persuasiveness.”
– Maurice Duruflé

This method, Duruflé asserted, marked a pivotal moment in the history of the organ, influencing subsequent symphonic composers who embraced and refined this approach to orchestral integration.

Thierry Escaich: Building on Poulenc’s Legacy

Nearly 70 years later, composer Thierry Escaich revisited Poulenc’s ideas in his own concerto for organ, strings, and percussion (2006). Escaich’s work expands upon Poulenc’s concept of fusion, creating a seamless interplay between the organ and the orchestra.

Escaich describes his style as one of “fusion,” where sounds blend and flow without distinct boundaries. In his concerto, the organ initially assumes the role of the wind section, while together mirroring the timbres of the strings and percussion. Musical lines are passed fluidly between the instrumental groups, creating a dynamic and interconnected sonic landscape.

the second movement introduces a contrasting character, where the organ breaks free from the tonal flow, initiating a rhythmically driven dialog with the orchestra.

Comparative Analysis: Poulenc vs. Escaich