Life's Little Adventures

Our Studio, Part XXII

 

 CAT SCRATCH FEVER

There's quite a story behind this picture, as you might guess. During the late 1970s our studio, Steinbicker/Houghton Inc., produced the photography for many record album covers, including a few of hard rock icon Ted Nugent (a.k.a. The Motor City Madman) for the CBS Epic label. After doing the cover for his 1977 hit Cat Scratch Fever we were asked to create a promotional photo depicting him as stark raving mad, an image he carefully nourished.

The first thing we needed was a padded cell, or at least the corner of one. That wasn't too hard to fake, but getting a real straight jacket certainly was. I first tried all of the New York prop houses, but no one had this item. Then I thought: "Of course! A medical supply — that's where a mental institution would get them from!"  So I called the nearest supply house and asked. The astonished voice on the other end must have thought I was some pervert looking for a bit of the old S&M fun times, because they answered that yes, they stocked them, but NO they will not sell it to me. After offering to show them a purchase order from CBS describing the photo they wanted taken the supply firm relented, provided I swore to totally destroy the item immediately following the photo session. 

At 1 p.m. on Tuesday, August 2, 1977, Ted Nugent came into the studio, was tied up and placed in the set. He was as friendly and cooperative as could be. How could he not be, being bound like that? And the session took a while as we were using an 8x10 view camera because the client wanted a huge reproduction size. 

Prior to doing his Cat Scratch Fever cover a few weeks earlier, we had also produced the cover photo for his 1976 album Free For All, another studio job. Most of his other albums used performance shots, a type of photography that we avoided as the photographer has no control over the event, and those jobs didn't pay nearly as well.

Album covers in those days were 12 inches square as the records were 12" vinyl LPs. That allowed plenty of space to display photos effectively. After that, though, cassettes were not only too small, but the shape was all wrong, CDs are just a little bit better. The top photo is not quite sharp because it was scanned from a really tiny reproduction, the only one I could find. 

And yes, I did destroy the jacket after the job was done.

Text copyright © 2010 Earl Steinbicker

 Interested in photography? Check out my "Assisting Avedon" blog.

SO, just what Little Adventure am I up to now in 2013? Why, just the most challenging one of them all! CLICK HERE TO FIND OUT.

 

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The Wienerwald, Austria

Ah, the Vienna Woods — the perfect daytrip from the Austrian capital. Explore it on your own by following these pages from my recent guidebook, Daytrips Austria. Enjoy!

Trip 5

 

The

Wienerwald

A Daytrip from Vienna

Vienna is indeed fortunate to have its beloved Wienerwald (Vienna Woods), an area of forested hills that form the northeastern end of the Alps. From here comes the city’s fresh air and clean water, and to here flock its inhabitants on weekend escapes. Besides natural beauty, the region boasts quaint villages, an historic abbey, the site of a romantic tragedy, one of Europe’s oldest spa towns, and plenty of rustic wine taverns where you can end your day sampling the new vintage.

You’ll need a car to do this trip in its entirety, and if you’re trying the wine you’ll also need a designated driver. There is, however, some limited bus service to the major sites, and the spa town of Baden-bei-Wien is easily reached from Vienna by streetcar or train – and the wine town of Gumpoldskirchen by train.

GETTING  THERE:

By Car, Head south from Vienna on the B-12 road, starting as Breitenfurter Strasse just southeast of Schönbrunn. Turn left at the sign for Perchtoldsdorf Zentrum and follow “Zentrum” signs into the center of Perchtoldsdorf. After seeing that town return to the B-12 and continue south, following directions in the text. Taken in its entirety, this trip is about 50 miles (80 km) roundtrip from central Vienna.

Public Transportation is really practical only to the towns of Baden and Gumpoldskirchen. For Baden, the easiest way is to take the Badener Bahn (Lokalbahn) streetcar that runs frequently from the Opera in Vienna. This is privately owned and does not accept passes. Otherwise, take a commuter train from Vienna’s Südbahnhof, which also stops at Gumpoldskirchen.

PRACTICALITIES:

This trip may be taken on nearly any day in fine weather, bearing in mind that the Beethoven House and some other attractions in Baden are closed on Mondays. The Tourist Information Office in Baden is located at Brusattiplatz 3 at Leopoldsbad, T: (02252) 2260-0600, W:baden.com/english.

FOOD AND DRINK:

Café Sauerhof (Wilburgstr. 11 in Baden, 5 blocks southwest of the Beethoven House, in the Hotel Sauerhof) Quality café food, featuring a Sunday brunch from Sept.-June. T: (02252) 412-51-0, W: sauerhof.at. €€€

Rudolfshof (Am Gamingerberg, above the Kurpark in Baden) Regional cuisine or just snacks in an old hunting lodge. T: (02252) 209-203. X: Tues., also Wed. in off-season. €€ 

 Café Damals (Rathausgasse 3 in Baden, by the Beethoven House) Local dishes in an attractive courtyard. T: (02252) 426-86. X: Sun. €

 

 

SUGGESTED  TOUR:

Numbers in parentheses correspond to numbers on the map.

Just beyond Vienna, a side road leads southeast from the B-12 into the historic old town of Perchtoldsdorf (1), otherwise known as Petersdorf. Around its central market place (Markt) stands an unusual fortified tower, or keep, of 1465, noted for its steep roof and corner turrets. Close to this is the Pfarrkirche (parish church) of 1340, where a massacre of its  congregation by invading Turks took place in 1683. Memories of this, and other horrors of that time, are kept alive in the small Türkenmuseum (Turkish Museum) located in the nearby 15th-century Rathaus (town hall). Tragedy of another kind is remembered by the Pestsäule (plague column), created in 1713 by the famous architect J.B. Fischer von Erlach.

Return to the B-12 road and continue south, following the map past Sulz-im-Wienerwald and Sittendorf until you come to the entrance, on the left, of Naturpark Sparbach (2). Long a summer retreat for Vienna’s citizens, this nature reserve features woodland paths, game enclosures, a lake, and a children’s zoo. T: (02237) 7611, W: naturparke.at. Open April-Oct., daily 9-6; Nov. and Jan.-March weekends only, 10 to 3, 4, 5, or 6 depending on month. €.

Crossing the A-21 Autobahn, turn right on the B-11 road and head south to:

STIFT HEILIGENKREUZ (Heiligenkreuz Abbey) (3), T: (02258) 8703, W: stift-heiligenkreuz.at. Tours at 10, 11, 2, 3, 4 daily; no 10 a.m. tour on Sun. Wine cellar. Restaurant. €€.

 

Photo of Abbey (above) © Stift-Heiligenkreuz

Begun in 1133, Austria’s oldest Cistercian abbey takes its name from a relic of the True Cross given to it in the 12th century. The Cistercian order was founded in France in the late 11th century as a reformation of the older orders; originally it featured severe austerity, but this has mellowed over the years. Tours visit the Trinity Column in the courtyard, followed by the 12th-century *Abbey Church itself. The nave of this is starkly Romanesque, but opens into a Gothic choir with lovely stained-glass windows. The Cloister marks the transition from the Romanesque into the Gothic, with an interesting nine-sided fountain room and Renaissance basin. The Babenburgs, who ruled Austria from 976 until 1246, have their tombs in the Chapter House along with their likenesses. Other rooms to see include St. Anne’s Chapel, the Chapel of the Dead, the Fraterie, and the Sacristy.

Continue west on the B-11, soon turning left for Mayerling. (4). This hamlet is better known for a sensational tragedy of forbidden love and suicide that rocked the nation in 1889 than for anything you can actually see; still it attracts countless visitors to this day. Long hushed up by the Imperial Family and cloaked in mystery, the story goes more or less like this: Archduke Rudolf, the 30-year-old heir to the throne of Austria-Hungary, was disliked by the aristocracy for his liberal politics, disbelief in religion, womanizing, drinking, and other unsavory practices. Although married at the time to Stephanie of Belgium, he began an affair with the 17-year-old Baroness Maria Vetsera. His father, the stern Emperor Franz-Joseph, tried to put an end to this by making threats, which only drove Rudolph to despair. The Archduke then fled with Maria to his hunting lodge at Mayerling, where two days later they were both found dead of gunshots. What was probably a double suicide (or a murder followed by suicide?) was quickly covered up by the family; only in recent decades have some of the facts become known. The hunting lodge was demolished on orders of the emperor, and replaced with a Carmelite Convent whose chapel covers the site of the bedroom where the tragedy took place. This and adjoining rooms containing mementoes may be visited. T: (02258) 8703-2275. Open daily 9-noon and 2-6. €.

 

 

 Head east on the B-210 road to the classic old spa town of Baden-bei-Wien (5)-(9), usually just called Baden. This is a wonderful place to just stroll around in, taking in the ambiance, as well as visiting a few of the sights. Tourist Office, Brusattiplatz 3, T: (02252) 2260-0600, W: baden.com/english.

What better place to begin exploring Baden than at its Kurpark (5)? Enjoy a delightful walk through this manicured park, possibly stopping at the bandstand, where free spa concerts are given from May through September, every day except Mondays, in the late afternoon. After checking your watch against the flower clock, you might want to try your luck at the Casino, whose gaming tables open at 3. For more casual gaming, the slots open at 1. Either way, you must be at least 19 and must show ID.

Meander down Theresiengasse to Hauptplatz, an elegant square embellished with the inevitable Dreifaltigkeitssäule (Trinity Column), a feature common to many an Austrian town. Opposite this is the impressive Rathaus (town hall) of 1815, and right around the corner is the:

BEETHOVENHAUS (6), Rathausgasse 10, T: (02252) 8680-0230. Open Tues.-Fri. 4-6, weekends and holidays 10-12 and 4-6. €.

Ludwig van Beethoven (painting, left), who lived at what seem to be countless addresses in and around Vienna, called these small digs home on several occasions, and it was here that he completed much of his Missa Solemnis as well as the towering Ninth Symphony between 1821 and 1823. Although the furnishings are sparse (photo, below), this is a must-see for all admirers of his music.

Time permitting, there are several other attractions in Baden in addition to the hot-spring spa facilities that made the town famous since the time of the ancient Romans. These include the Emperor Franz-Joseph Museum (7), devoted mostly to local folk art and artifacts. T: (02252) 411-00. Open April-Oct., Tues.-Sun. and holidays 2-6. 11-5. €. Another site of local interest is the Rollett Museum (8), which covers Baden’s long history along with a miscellaneous collection of such oddities as human skulls used in the “science” of phrenology. T: (02252) 482-55. Open Wed.-Mon. 3-6. €. Gardeners will enjoy a visit to the Rosarium (9) in Doblhoff Park, where some 25,000 roses bloom over an area of 3.5 acres. This is especially attractive in June; ask at the tourist office for specific details.

 

 Depart Baden and head north on the B-212 road to Gumpoldskirchen (10), a charming village filled with inviting Heurigen — those simple wine taverns where local families dispense their own Heuriger (new wine) at rustic tables, usually in a vine-covered courtyard and often with simple musical accompaniment. This is great and inexpensive fun-filled way to end your day – just wander around to find a place that appeals to you. 

Copyright © 2008 by Earl Steinbicker

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The Avedon Years, Part XLIV

Think Pink — The

Making of Funny Face

Some movies were never destined for greatness, yet remain highly enjoyable and can be watched over and over again, only getting better with age. Such is the case with Funny Face, a 1957 flick inspired by Richard Avedon’s photographic career. Although only 32 at the time, Dick was already famous as the star photographer for Harper’s Bazaar magazine. So it was only natural that Hollywood director Stanley Donen based his fashion-fantasy musical on Avedon, even though the resemblance was more in spirit than in fact.

 

Avedon was hired by Paramount as a consultant on the film, and also had quite a bit to say about which stars would appear in it. He once commented on Fred Astaire playing the role of fashion photographer “Dick Avery” by saying “It’s all very strange. I’d learned how to be me by pretending to be him and then I had to teach him to pretend to be me.” Astaire was Avedon’s childhood idol, so it was no surprise that the dancer was chosen for the part despite being some thirty years older than his co-star Audrey Hepburn in the romantic comedy.

Funny Face began in 1927 as a Broadway Musical starring Fred and Adele Astaire, with music by George and Ira Gershwin. Although the 1957 movie had a completely different story line, both the spirit, the title, and four of the songs are taken directly from the Broadway show.

CLICK on photos to see them supersized

In a previous entry I described our 1955 trip to San Francisco to do a cosmetic ad for Helena Rubinstein featuring supermodel Suzy Parker with the Dave Brubeck Quartet. A second, and more important, part of that trip was a meeting between Avedon and movie director Stanley Donen (born 1924) about a proposed romantic musical comedy inspired by the former’s life in fashion photography. As a result of this meeting I drove Dick and his wife Evie along with Donen and his wife, actress Marion Marshall, to the Hearst Castle at San Simeon for further discussions. 

Since Dick was associated with the Hearst Corporation as a result of his work for Harper’s Bazaar, he had wangled an invitation to use the castle for the meeting. William Randolph Hearst was already dead and the family seldom used the place, which they later gave to the State of California as a tourist attraction. The photo above was taken by Stanley Donen in the castle, showing Avedon (standing), me (seated, puffing on pipe), and Mrs. Donen. During the first hours there, Dick shot some historic pictures of the estate to present to the Hearst family. 

As an accomplished film director, Stanley Donen was most intrigued by this estate being the “real” home of Citizen Kane, a classic 1941 movie by Orson Welles that had been removed from circulation years earlier for legal and financial reasons, as it was thought to portray Hearst in a scandalous light. None of us had ever seen it, and Donen — especially — thought that, perversely, a print just might be hidden away in the estate’s theater. We searched the projection room, but no such luck.

After discussions had reached an agreement, I drove our whole gang south to Los Angeles, dropping them off in Bel Air. From there I drove to Beverly Hills, where I stayed for two days before flying back to New York with the precious film from the San Francisco sitting.

Despite the disparity in ages, Avedon insisted on having his idol Fred Astaire play opposite his muse, Audrey Hepburn. This actually worked out very well and he fit the part better than any other male dancer including the obvious first choice, Gene Kelly. The screenplay was written by Avedon’s friend, playwright Leonard Gershe (1922-2002).  

The story, such as it is, opens with a scene in the New York offices of "Quality," a fictitious slick fashion magazine obviously based on Harper's Bazaar. The head fashion editor, "Maggie Prescott" (photo, left), played wonderfully by Kay Thompson, is a dead ringer for Bazaar's very own Diana Vreeland. After dictating that all the world's women wear pink, she confides that she herself "wouldn't be caught dead in it." Her next inspiration was to depict intellectual women wearing smart designs by leading designers. 

 

For this the whole gang, "Maggie," her fawning assistants, photographer "Dick Avery," and the model "Marion," played by real model Dovima, race down to Greenwich Village and invade a dusty bookstore specializing in odd works by obscure philosophers. The store clerk, "Jo Stockton," played by Audrey Hepburn, appears in the corner of one of the pictures. Back at the office, "Avery" suggests that "Jo" has real charm and would make a great model, despite her "funny face." Later, "Avery" does a song-and-dance in the darkroom with her (photo, left), convincing her that she should go to Paris with them.

So it's off to Paris with "Jo," whose real motivation in going is to meet with her idol, "Professor Emile Flostre" and discuss his theories of "Empathicalism." Arriving at Orly Airport (photo, right), they each take off on their own to see the town before settling down to modeling and photography. This results in wonderful scenes, great music, and some stunning split-screen cinematography. 

 

Then it's down to work photographing the creations of couturier "Paul Duval," a character based on real-life Hubert de Givency — who actually designed all of Audrey Hepburn's Paris costumes (photo, left). But "Jo" was more interested in meeting "Professor Flostre," leading her to overlook some of her responsibilities, such as being there when needed. This leads "Dick" and "Maggie" to pose as beatniks and tear around the Latin Quarter in a strange little car (photo, right) in search of "Flostre" and "Jo." Turns out that "Flostre" is interested in more than philosophy, and "Jo" realizes what a mess she's gotten herself into. After a song-and-dance routine (photo, below), "Maggie" and "Dick" rescue her, "Dick" and "Jo" fall in love, and everything heads to a romantic, happy ending.

Of course, all of this is silly fluff — but that's exactly what makes it so much fun!   

 

Being a major production from Paramount, Funny Face was shot entirely in their proprietary VistaVision process. This high-resolution widescreen system used conventional 35mm motion picture film stock, running horizontally rather than vertically, with an 8-sprocket image measuring a wide 18.3mm x 36mm. It was developed by Paramount in 1954 to compete with  CinemaScope, which used an anamorphic lens to compress widescreen images onto a conventional 4-sprocket 35mm frame running vertically, with an image size of 18.6mm x 21.95mm. VistaVision was quite superior in picture quality but expensive to produce as it used twice as much film stock. It also required a lot of light to maintain depth-of-field, as the larger image size needed longer focal-length lenses and consequently smaller f/stops to keep both foreground and background in common focus. Another drawback was the reluctance on the part of theater owners to purchase the special projectors needed. Paramount overcame this by making compressed release prints that ran on conventional projectors equipped with anamorphic lenses. 

Doing this resulted in loss of image quality, but it was still a bit better than rival systems. The last motion picture shot entirely in VistaVision was in 1961, after which Paramount switched to the anamorphic Panavision. VistaVision was still used for some special effects scenes until being replaced by digital imagery in the early 21st century. 

Strangely, Funny Face was really an MGM movie produced and distributed by rival Paramount. MGM owned the rights to the story, and nearly all of the major creative staff including director Stanley Donen were under contract to them. Fred Astaire was freelancing at the time and owed Paramount a film. Hepburn was Paramount's most valuable star, so in no way would they release her to MGM. Consequently the whole project had to move over to Paramount, as Avedon was insistent on having both Astaire and Hepburn in "his" film.

Filming began in April 1956 and concluded that July.  Prior to that time Dick made a trip to Hollywood in his role as consultant, and again when filming began. He also traveled to Paris in late April to oversee the location shooting there. The photo on the right shows him with Fred Astaire in the Tuileries with a strange French view camera, not the Deardorff he always used at the time. The TLR camera dangling from Astaire's neck isn't a Rolleiflex, either. Sadly, I was not present on any of these shooting days or on the later ones during June and July in Hollywood. The editing was done that Fall, with Avedon present in Los Angeles on October 19-20, November 10-11, and November 14-17; but by that time I had already been drafted into the U.S. Army. Dick wrote to me during basic training offering to arrange a private showing in New York before the premiere if I could get off, although I had to decline rather than go AWOL.

Funny Face was released on VHS Video tape in 1995, and again in 2001. That same year it was also released on DVD, and an improved 50th Anniversary DVD in 2007. In 2009 a 2-disc DVD set including many extras was released as part of the Paramount Centennial Collection.

 

NEW:

Photography's Golden Age ended long ago but remains very much in my memory. From 1952 through 1965 I was assistant to Richard Avedon during his most creative period, and do I have the stories to tell! Now, at the end of 2015, is the time to reveal all while I'm still alive and kicking. Tales of personalities, motivations, intrigues, and even the fine details of how it was all done. 

What I need to make this project a reality is a co-conspirator to aid in getting the whole, true, uncensored story published -- either as a book, an e-book, or even a documentary. I am not interested in self-publishing.

Anyone interested? Leave a comment and I'll get back to you.

 

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Füssen and Neuschwanstein, Germany

 

Nearly everyone who visits Bavaria goes to see Crazy Ludwig's castle at Neuschwanstein — mostly on guided tours. Here's a better way to do it on your own, taken directly from the latest editions of my guidebooks Daytrips Germany and Daytrips Bavaria.

 

 Trip 9

 

*Füssen and Neuschwanstein

 

A Daytrip from Munich

The most instantly recognized symbol of Germany is undoubtedly Neuschwanstein, a sight that graces the covers of numerous guidebooks, brochures, and travel posters. Everything a fairytale castle should be, "mad" King Ludwig II's most spectacular creation has even served as a model for Disneyland.

While countless tourists trek through it every year, relatively few visit the neighboring castle of Hohenschwangau — in which Ludwig was actually raised — and only a small minority venture down the road to the delightful frontier town of Füssen. This trip combines all three for an exciting day filled with memorable sights, far more than you would get on a guided bus tour.

GETTING  THERE:

Trains leave Munich's main station hourly for either Buchloe, where you change to a local for Füssen, or direct to Füssen. Check the schedule. Return service operates until mid evening. The journey takes about 2 hours each way.

By Car, leave Munich on the B-12 road, going west to Landsberg, then turn south on the B-17 to Hohenschwangau and Füssen for a total distance of 120 km (75 miles).

PRACTICALITIES:

The Royal Castles are open all year round, but are more crowded on weekends during the tourist season. There is a Tourist Information Office (Kurverwaltung) in Füssen at Kaiser-Maximilian-Platz, 3 blocks east of the station, T: (08362) 938-50, W: fuessen.de. Bicycles can be rented near the station all year round. Füssen has a population of about 14,000.

FOOD  AND  DRINK:

Restaurants near the Royal Castles tend to be touristy, with better values in Füssen. Some good choices are:

IN FÜSSEN:

Gasthaus zum Schwanen (Brotmarkt 4, near Kloster St. Mang) Bavarian and Swabian dishes in a cozy setting. T: (08362) 61-74. X: Mon., mid-Jan. through mid-March. €

Gasthof zum Hechten (Ritterstr. 6, by the castle) An old favorite inn with Bavarian and Swabian dishes. T: (08362) 916-00. €

IN HOHENSCHANGAU:

Müller (Alpseestr. 14, near the bus stop) Country-style dining. T: (08362) 819-90. X: early Jan. through early March. €€€

Lisl und Jägerhaus (Neuschwanstein Str. 1, just south of the bus stop) Local and Continental cuisine. T: (08362) 88-70. €€

SUGGESTED  TOUR:

Numbers in parentheses correspond to numbers on the map.

Leave the Füssen train station (1) and walk over to the bus stop across the street. Check the posted schedule of service to Hohenschwangau, also called Königsschlösser or Royal Castles. From this you can determine the amount of time available for exploring Füssen, allowing at least three hours for Neuschwanstein and Hohenschwangau castles.

Stroll down Bahnhofstrasse to Kaiser-Maximilian-Platz, where the tourist office is located. From here turn right on Reichenstrasse, a charming pedestrians-only street lined with outdoor cafés, which leads to Kloster St. Mang (2). This former Benedictine abbey was founded in the 8th century and rebuilt during the 18th. It now serves as the town hall and contains a small museum. In the courtyard is the Chapel of St. Anne, noted for its unusual Totentanz (Dance of Death) painting from 1602, and the parish church with its ancient 9th-century crypt.

Climb uphill to the Hohes Schloss (Castle) (3), once a residence of the bishops of Augsburg, who claimed it after Emperor Heinrich VII forfeited on a loan they had made to him. The present structure, curiously painted, dates from the 13th and 16th centuries. Long before that, in the 3rd century AD, the Romans had a castle on the same site to protect their Via Claudia road that ran from Verona to Augsburg. The splendid Knights' Hall and other rooms, now an art museum, may be visited. T: (08362) 903-146. Open Apr.-Oct., Tues.-Sun. 11-4; Nov.-March, Tues.-Sun. 2-4. €.

Now follow the map to the Lech Waterfall (4), a very beautiful spot just yards from the Austrian border. Cross the Maxsteg footbridge over the cascade and return via Tiroler Strasse. Once across the main bridge, bear right onto Brotmarkt and Brunnengasse, then return to the bus stop.

Board the bus to Hohenschwangau (Königsschlösser), a distance of about two miles. You could, of course, walk or drive there instead, or even rent a bike near the station. Check the posted return bus schedule upon arrival and purchase your tickets at the booth on Alpseestrasse.

From the Hohenschwangau bus stop (5) it is a fairly steep climb via a woodland trail to Neuschwanstein Castle, with park benches provided en route. This can be avoided by taking one of the rather touristy horse-drawn carriages, or by a special bus (still requiring a little uphill trek), both of which start from a point opposite the bus stop, next to the parking lot. At the top of the climb, just below the castle, there is a restaurant and outdoor café where you can rest before tackling the main attraction.

 

View from Neuschwanstein Castle

*NEUSCHWANSTEIN CASTLE (6), T: (08362) 930-830, W: ticket-center-hohenschwangau.de. Tours April-Sept., daily 9-6; Oct.-March, daily 10-4. Closed Jan 1, Shrove Tues., Nov. 1, Dec. 24, 25, 31. Tickets are for timed mandatory tours in English or German, with audio devices for other languages. Visitors must be at the castle entrance at the specified time. Handicap assistance available on Wed. only by advance arrangement. €€.

 

Neuschwanstein Castle is pure fantasy. By comparison, King Ludwig II's other creations of Linderhof and Herrenchiemsee, although wildly extravagant, have at least some basis in reality — other kings have built lavish palaces for themselves before. For this one, however, there is no model except possibly the Wartburg in Thuringia. Ludwig was obsessed with strange notions of a transfigured past whose gods, knights, and swans form the hazy bedrock of Wagnerian opera. Completely withdrawn from the industrial world of the 19th century, this lonely monarch wrapped himself in a cloud of long-forgotten dreams, of which Neuschwanstein is simply the most spectacular manifestation. Painting of Ludwig arriving at Neuschwanstein, right.

 

The castle, rising from a rocky crag high above the Pöllat gorge, was designed by a theatrical scene-painter employed by the court. This was Ludwig's first creation, begun in 1869, but it remained unfinished at the time of his death 17 years later. He lived there for a total of 170 days, and it was from there that he was taken into custody after being declared insane. The young king's life ended tragically in the waters of Lake Starnberg the very next day.

 

Painting of Ludwig in 1887, left.

 

Enter the castle and join one of the very frequent guided tours, many of which are in English. Unlike the rococo fantasies of his later structures, Neuschwanstein is heavily Teutonic, with wall murals depicting those heroic sagas so dear to the hearts of Wagnerians.

After the tour you may want to take a short but invigorating walk to the *Marienbrücke (7) for some truly splendid views. Return to the bottom of the hill and visit:

HOHENSCHWANGU CASTLE (8), T: (08362) 930-830. Tours April-Sept., daily 9-6; Oct.-March, daily 10-4, closed Dec 24. €€.

 

Despite its excessive decoration, this Schloss (photo, left) has a homely, lived-in feel about it. Dating from the 12th century, it was heavily reconstructed by Ludwig's father, Maximilian II. The future king spent much of his youth here and was undoubtedly influenced by its dreamy, romantic atmosphere. It was here, too, that he entertained the composer Richard Wagner, who milked him for all he was worth.

From here, stroll down to the Pindarplatz (9) for another gorgeous view across the Alpsee, then return to the bus stop (5) and Füssen.

 

Text and map copyright © 2009 Earl Steinbicker

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Our Studio, Part XIX

Previously on this thread

Photographing Chicago

(The Band, Not The City)

It was in the Winter of 1972 that we got a plum assignment from one of our favorite clients, CBS Columbia Records. This was to travel to a remote part of Colorado to photograph the pop-rock band Chicago as they were recording their sixth album, Chicago VI, released in 1973. Why would they do this in such an out-of-the-way place? Why not?

James Guercio, the group's producer from 1968 until 1977, owned the historic Caribou Ranch and over 4,000 acres of land surrounding it since 1971. In 1972 he converted the barn into a state-of-the-art recording studio, and added living quarters for the musicians and everyone else associated with the projects. Between then and its fiery demise in 1985 it was a choice recording venue for dozens and dozens of the very greatest names in music — rock, pop, jazz, and classical. After the fire it became a working ranch and in 1995 was sold to Boulder County as a nature park.

My business partner Jim Houghton and I flew to Denver with John Berg, then the highly talented Vice-President for Creative Services of CBS Columbia Records (now Sony). John was also the designer of Chicago's famous logo, which remains in use today. At the Denver airport we rented a station wagon and drove up into the mountains past Boulder and Nederland, turning west for about five miles on a dirt road to the Caribou Ranch.

That first night we met the band and relaxed with them in the main ranch house, polishing off many bottles of Heineken beer. It was then that I noticed a revolver on the table next to my chair, a sign that this was really the Wild West. It was a .44 Magnum and it was loaded. Years later this casual attitude toward guns resulted in tragedy when a leading member of the band accidentally shot himself dead.

The next morning was devoted to choosing a location for the photos. The natural choice was the long-abandoned ghost town of Caribou near the former Blue Bird silver mine, not far away but difficult to get to. There was a dirt trail that really required using a 4WD truck, but Jim and I chose to rough it on snowmobiles following the path of what's left of the former Denver, Boulder & Western Railroad, which linked Caribou with the outside world from 1904 until 1919. That's me on my borrowed Ski-Doo, about to take off.The other one was for Jim Houghton, who took the photo.

The trail was rough in spots, and I managed to spill the thing three times, but was always able to get it back upright. The worst part was when we came to a ravine over which the railroad once had a bridge. Since this structure was no longer there, we had to go steeply down to the creek, cross it, and up the other side. Lots of fun. 

Anyway, the ghost town of Caribou was a wonderful location, looking like the ruined remains of an old Hollywood set for a Western flick. So we headed back, and that afternoon returned by truck via the longer route while the band got there on horses. Jim's photos looked for all the world like stills from old-time cowboy movies, and were just what was wanted.

Today the area is a nature park from which snowmobiles are excluded, as are even trail bikes. The only way to get from the ranch to the ghost town is on foot via the Switzerland Trail. Environmentally this is a good thing, but those Ski-Doos sure were great to drive. 

 

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Bayreuth, Germany

Music lovers — especially those with a passion for Wagnerian opera — will revel in this daytrip from Munich (or Nürnberg) to Bayreuth. Taken directly from the pages of my recent guidebook Daytrips Bavaria, it tells you exactly how to get there and how to get the most out of this popular festival town hidden away in the wilds of Franconia. Enjoy!

Trip 17

Bayreuth

For admirers of Wagnerian opera, a daytrip to Bayreuth is a delightful pilgrimage — perhaps the highlight of their entire visit to Germany. Others may find this to be a day largely wasted in the boondocks of Franconia. How much joy you get out of this trip is determined by your musical tastes, and only you can know the answer to that.

There was a town here long before Wagner was ever born, of course. During the 18th century this was a minor cultural oasis under the influence of Princess Wilhelmina, the very talented sister of Frederick the Great, King of Prussia. An ineptitude for diplomacy led to her being married to the exceedingly dull Margrave of Bayreuth, a fate made bearable by creating what few treasures the town has to offer aside from those associated with the composer.

The annual Bayreuth Festival, which had its premier on August 13th, 1876, has since turned this provincial Bavarian town into a world-class mecca for music lovers. Organized by Richard Wagner (that's him on the left) for the express purpose of performing his own operas in his very own theater, it helped revolutionize the status of composers from glorified servants of the nobility to entrepreneurs. More than that, it began the entire concept of annual music festivals, now held all over the world.

Although it's a bit lengthy for a daytrip, dedicated fans will find this excursion well worth the effort. Bayreuth may also be visited from other Franconian bases, such as Nürnberg.

GETTING THERE:

Trains leave Munich's main station between roughly 6 and 7:30 a.m. for Nürnberg, where you connect to an hourly train to Bayreuth, or the faster. more luxurious ICE train bound for Dresden. The entire journey takes about 2½ or 3 hours. Return ttrains operate until mid-evening, again changing at Nürnberg. Get schedules at W: bahn.de.

By Car, Bayreuth is 231 km (144 miles) north of Munich on the A-9 Autobahn.

PRACTICALITIES:

Unless you really love crowds, you should avoid coming during festival time, which lasts from late July until late August. The local Tourist Information Office(Kongress-und-Tourismuszentral), T: (0921) 885-88, W: bayreuth-tourismus.de, is at Luitpoldplatz 9, a few blocks south of the train station. Bayreuth has a population of about 75,000.

FOOD AND DRINK:

Some good places for lunch are:

Da Corrado (Sophienstr. 22, near the Kunstmuseum) A modern Mediterranean restaurant in the oldest part of town, with a terrace by the ancient walls. T: (0921) 515-900. €€€

Oskar (Maximilianstr. 33, west of the Altes Schloss) Both traditional and New Franconian cuisine. T: (0921) 516-0553. € and €€

Gastätte Porsch (Maximilianstr. 63, 2 blocks west of the Altes Schloss) Inexpensive dining on Franconian fare. T: (0921) 646-49. €

SUGGESTED TOUR:

Numbers in parentheses correspond to numbers on the map.

Leave the Train Station (1) and walk down Bahnhofstrasse to the tourist office on Luitpoldplatz. Across the square is the 17th-century Altes Schloss (Old Palace) (2), home of the ruling margraves until 1754. Destroyed in 1945, it was later rebuilt and now houses government offices. Amble through its courtyard and visit the Schlosskirche (Palace Church), which contains the tombs of Margrave Friedrich and his wife Wilhelmina. From here you can take an interesting stroll through the oldest part of town, now home to the new Kunstmuseum (Museum of Art) (3) with its rich collection of German 20th-century art from such masters as Otto Dix, Schmitt-Rottluff, Max Beckmann and others. T: (0921) 764-5310, W: kunstmuseum-bayreuth.de. Open Tues.-Sun. 10-5, also on Mon. in July-Aug. €. You might also stop at the 15th-century Stadtkirche (Town Church) on Kirchplatz before continuing on to the first major attraction:

HAUS WAHNFRIED — RICHARD WAGNER MUSEUM (4), T: (0921) 757-2816, W: wagnermuseum.de. Open April-Oct., daily 9-5, remaining open until 8 on Tues. and Thurs.; Nov.-March, daily 10-5, remaining open until 8 on Thurs. Closed certain holidays. €.

Richard Wagner built Haus Wahnfried (photo, above) in 1873 as his first, and last, permanent home. Born in Leipzig in 1813, he had always been a wanderer, fleeing both creditors and the police until his strange relationship with the mentally unbalanced King Ludwig II began in 1864. This solved his persistent money problems — he had always lived lavishly on a precarious income — but the composer's political manipulations and loose morals quickly gained him enemies, and he was forced into exile. Eventually, Wagner's ego required that he have his very own opera house, where his works would not be contaminated by those of other composers. Thus the move to Bayreuth, a place so remote and yet within the confines of Ludwig's Bavaria that his adoring public would have to come to him.

Haus Wahnfried remained in the possession of Wagner's descendants until 1973, when it was deeded to the town. It has since been restored and is now open as a fascinating museum of the composer's life; one that explores his creative genius without overlooking the blemishes. Visitors may relax in the drawing room and listen to recorded concerts of his operas. Allow plenty of time for this small but intriguing museum.

Wagner, who died in 1883, lies buried along with his wife Cosima in a simple grave at the rear of the house. Continue past this and wander around the lovely Hofgarten to the:

NEUES SCHLOSS (New Palace) (5), T: (0921) 759-69-21. Open April-Sept., daily 9-6; Oct.-March, daily 10-4. €.

Begun in 1753, this late rococo structure reflects the refined tastes of Princess Wilhelmina, who lived here until her death in 1758. Its many charming rooms, filled with period furniture, may be seen on guided tours given frequently.

Now follow Ludwigstrasse to Wilhelmina's great masterpiece, the:

*MARKGRÄFLICHES OPERNHAUS (Margrave's Opera House) (6), T: (0921) 759-69-22. Open April-Sept., daily 9-6; Oct.-March, daily 10-4. €.

Otherwise known as the Old Opera and first opened in 1748, this is an absolutely delightful jewel, right up there in the same class with Munich's Cuvilliés Theater. Every 45 minutes, visitors are treated to a delightful sound-and-light show (in German) with Baroque music and fantastic illuminations. Richard Wagner was originally attracted to Bayreuth by the thought of using this elegant theater for his festival. Alas, its stage proved much too small for both Siegfried and the dragon, let alone all those Valkyries. In the end, of course, he built his own opera house, which you should visit next.

Return to the train station and take the route on the map to Wagner's Festspielhaus (Festival Theater) (7), the most famous sight in Bayreuth. Set atop a small hill overlooking the town, this curiously nondescript structure was begun in 1872. Wagner was hardly able to raise the money for a cornerstone, to say nothing of an entire opera house, so in the end he had to appeal once again to Ludwig. The king, somewhat peeved at the choice of Bayreuth and by now short of cash as a result of his lavish castles, came up with just enough for this unadorned building. Plans to add an elaborate façade at a later date never materialized.

Inside, however, it is a marvel of technical ingenuity. The acoustics, achieved at the expense of audience comfort, are world-renowned. Singers can be heard above the roar of the orchestra, which is buried in a deep pit. The huge and highly mechanized stage was decades ahead of its time, as was the lighting. T: (0921) 787-80. Guided tours are held in Dec.-April on Tues.-Sun. at 10 and 2; in Sept.-Oct. on Tues. through Sun. at 10, 10:45, 2:15, and 3. There are no tours when the theater is in use from late May through July, or in Nov. €. Tickets for performances are invariably sold out long in advance.

From here it is an easy downhill walk back to the train station.

Copyright © 2007 and 2009 Earl Steinbicker.

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Pink Floyd Fan, Part II

CLICK HERE for the earlier post on Pink Floyd

I've recently discovered a DVD that spreads considerable light on the early days of the band, especially on their relationship with Syd Barrett. Although first issued in 2005, this newer 2007 two-disc edition contains several hours of additional raw, unedited material — most of which was left out of the initial documentary.

The stunning cover design by artist Mark Wilkinson, an image (above) right out of the psychedelic 1960s, sets the tone for this trip back in time.

This is truly a must-have for really devoted Floyd fans, although others may find that it contains more than they ever wanted to know. There are extensive interviews with band members Roger Waters, David Gilmour, Nick Mason, and Rick Wright — as well as with friends, managers, and lovers who were close to Syd. There are also clips from home movies, TV appearances, band posters, and other memorabilia along with a biography text.

The original documentary, on Disc One, is only 49 minutes long, but provides an exhilarating journey into the creation of their first album, The Piper at the Gates of Dawn. The cover design (image, right) of that 1967 album truly belongs to the psychedelic era — back then even I had a prismatic camera lens attachment that did the same thing!

Syd Barrett (1946-2006) was really the heart and soul of the Pink Floyd. A founding member back in 1965, he gave it their distinctive musical direction as well as their name. Increasing mental instability along with his reported use of LSD led to his leaving the band in 1968, to be replaced by his friend David Gilmour. For the next few years he pursued a solo career, and then retired to his home in Cambridge. There he returned to his original art of painting, along with gardening, and there he died of cancer at age 60 on July 7, 2006.

CHECK OUT the DVD by clicking on its name in the box below, or on the Buy button to purchase:

A quite thorough biography can be found on Wikipedia.

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The Who Revisited

AN AMAZING JOURNEY

Not only were The Who back again with a wonderful new album of fresh songs in the Fall of 2006, but just a year later they released a double-DVD set documenting their entire four-decades-long history.

This is not a performance video; in fact it mostly contains only brief snatches of music. Instead, it is a meticulously crafted story of the band and of each of its four original members, as recently told by Roger Daltrey and Pete Townshend, supplemented with earlier interviews with John Entwistle and Keith Moon — both of whom are sadly no longer with us. There are also informative pieces by other rockers including Sting, Eddie Vedder of Pearl Jam, and The Edge of U2.

The history goes all the way back to the 1940s, with footage of the London Blitz and childhood photos of the band members, then goes on to cover the development of British popular music through the postwar years and into the 60s and 70s.

Also included is D.A. Pennebaker's film "Who's Back," documenting the 2003 recording of a song about Townshend's childhood by the two remaining members of the band. Filling in for the deceased ones are Zak Starkey (son of Ringo Starr) on drums and Greg Lake (of Emerson, Lake & Palmer fame) on bass guitar.

Another treat for fans is the inclusion of a long-lost film of a live performance in 1964 at the Railway Hotel Pub in North London, the earliest known performance footage of The Who — then known as the High Numbers.

There is also a three-disc version of this package, with the third disc showing part of a 1979 performance in Chicago. I have not seen it. 

CHECK IT OUT by clicking on Amazing Journey in the box below, or clicking on Buy Button to purchase at Amazon.com:

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SALZBURG, AUSTRIA

A year ago, as I was finishing my guidebook Daytrips Bavaria, I added a one-day visit to Salzburg in Austria because it is so close to Bavaria and so easy to get to from Munich. This same chapter is also in my guidebooks Daytrips Austria and Daytrips Germany.

Trip 23

 

 

*Salzburg

Austria

Squeezed between mountains and the Salzach River, Salzburg's picturesque historic district overflows with Baroque treasures lining the narrow streets and spacious square. This combines with a world-renowned musical heritage and a stylish flair for good living to form what is surely one of Europe's very best attractions. No visitor to Munich should miss this Austrian treat, less than two hours away.

Although settled since prehistoric times and a thriving place during the Middle Ages, Salzburg's grandest moments occurred during the Baroque period of the 17th and 18th centuries. Throughout this time the city was ruled by its archbishops, whose influence extended south all the way to Italy. It was not until 1803 that Salzburg was secularized, and it did not become a part of Austria until 1816. The coming of the railway in the mid-19th century put it right on the main line connecting Paris, Munich, Vienna, and Budapest. Now easy to reach from anywhere in Europe, Salzburg prospered as a major destination for lovers of music and art.

The names Salzburg and Mozart are practically inseparable, with memories of the composer popping up just about everywhere. Wolfgang Amadeus Mozart (1756-91), of course, was born here and, although he traveled extensively throughout Europe as a young man, spent considerable time in Salzburg before breaking with the archbishop and moving to Vienna.

Salzburg became famous for music of a rather different sort when the Hollywood hit The Sound of Music was filmed in and around the town in 1964, bringing a flood of tourist dollars that has not abated to this day. Several firms offer Sound of Music guided bus tours, which might be fun if you enjoyed the film. Ask the tourist office about current offerings.

Every year, from late July until the end of August, Salzburg holds its renowned musical festival, the Salzburger Festspiele, as it has since 1920. There's plenty of Mozart, of course, but also many other kinds of music as well. During this period the hotels are full, restaurants jammed, streets crowded, and prices high. Be sure to book well in advance if you intend to visit at that time.

The walking tour described here begins with a glorious view of the historic center, explores the narrow streets, visits some of the major attractions, takes a funicular up to the old castle, and ends — if you like — in a beer garden overlooking the town.

GETTING THERE:

Trains, many of the high-speed variety, connect Munich with Salzburg, a ride of 1½ to 2 hours.

By Car, Salzburg is 142 km (88 miles) southeast of Munich via the A-8 Autobahn in Germany and the A-1 in Austria.

PRACTICALITIES:

Salzburg may be enjoyed on any day in good weather, but unless you're coming for the Festival you might avoid the period from late July through August, when the town is jam-packed with visitors. For Festival information check their website.

The Tourist Information Office is located at Mozartplatz 5, T: (0662) 889-87-330. There is also a branch in the main train station (Hauptbahnhof) at Track 2a, T: (0662) 889-87-340. Ask about the economical Salzburg Card, which covers the museums, sights, and public transportation. This is a real bargain for the one-day walking tour described here.

FOOD AND DRINK:

Being one of Europe's major tourist destinations, Salzburg abounds in all types of restaurants, at all price levels. Here are a few suggestions for local and regional cuisine:

Zum Eulenspiegel (Hagenauerplatz 2, near the river, north of the Geburtshaus) Several floors of tiny dining rooms for a cozy experience; Austrian cuisine. T: (0662) 843-180. €€ and €€€

K+K Restaurants am Waagplatz (Waagplatz 2, west of Mozartplatz) Four floors of restaurants with traditional Austrian and International cuisine, all at different prices. T: (0662) 842-156. €, €€, and €€€

Bologna—Zum Mohren (Judengasse 9, north of Residenzplatz) A cellar restaurant in a 15th-century house near the river. Austrian and Italian cuisine. T: (0662) 840-680. X: Sun. €€

St. Peter's Stiftkeller (St. Peter's Bezirk 1/4, west of the catacombs) An historic eatery with atmospheric dining rooms, plus an outdoor courtyard for alfresco meals. T: (0662) 848-4810. € and €€

Wilder Mann (Getreidegasse 20, near the Geburtshaus) A rustic place for typical Austrian dishes. T: (0662) 841-787. X: Sun. €

Sternbräu (Griesgasse 23, behind Getreidegasse, 2 blocks west of the Geburtshaus) Solid Austrian fare, either indoors or in the courtyard garden. T: (0662) 842-140. €

Weisses Kreuz (Bierjodlgasse 6, just north of Festsungsgasse) Tasty Croatian cuisine at modest prices. T: (0662) 845-641. X: Tues. €

Stieglkeller (Festungsgasse 10, near the lower station of the cable car) A huge, sprawling beer hall and garden serving basic Austrian dishes, but mostly beer. T: (0662) 842-681. €

SUGGESTED TOUR:

Numbers in parentheses correspond to numbers on the map.

Begin your walk with a great *view of the castle rising above the old historic center. This is best had from the gardens of Schloss Mirabell (1), a palace built in 1606 by Prince-Archbishop Wolf Dietrich for his mistress, who bore him ten or more (they lost count) children out of wedlock. Just six years later the archbishop was thrown into the dungeons of Hohensalzburg Castle; his successor, Markus Sittikus, taking over the palace and renaming it Mirabell. Later remodeled in the Baroque style, it now houses city government offices. When the doors are open (Mon., Wed., Thurs. 8-4, Tues.+Fri. 1-4. Free), you can take a peek inside to view the monumental Marble Staircase and the ornate Marble Hall. The marvelous *Gardens were laid out in the Baroque manner arounf 1690 by the gifted architect Fischer von Erlach, who created so much of Salzburg's splendor. Stroll through them, perhaps getting a glimpse of the tiny Zauberflötenhäuschen in the grounds of the adjoining Mozarteum music school, near the southwestern corner of the gardens. It was in this hut, originally located in Vienna and later transferred here, that the impoverished Mozart supposedly composed The Magic Flute in only five months during the last year of his life, 1791.

Exit the gardens between two wonderful statues. To your left, across Makartplatz, stands the Mozart-Wohnhaus (2), a.k.a. the Tanzmeisterhaus. It was here that young Wolfgang Amadeus Mozart lived with his family from 1773 until his heated dispute with the archbishop in 1781 forced a quick move to Vienna. Partly destroyed during World War II, the house has been rebuilt and is now a museum devoted to the early life of the composer. T: (0662) 874-227-40. Open daily 9-6, remaining open in July-Aug. until 7. €€, combo with birthplace €€.

Follow the map across the Salzach River and into the historic center, beginning at Rathausplatz. Turn right on *Getreidegasse, the lively main shopping street of Old Salzburg. In a short distance, on the left, you will come to:

MOZART'S GEBURTSHAUS (3), T: (0662) 844-313. Open daily 9-5, remaining open in July-Aug. until 6:30. €€.

You can hardly miss the old house in which Mozart was born in 1756 and in which he lived with his family until 1773. Beautifully restored with period furnishings, this upstairs home is filled with Mozart memorabilia such as his childhood instruments, harpsichord, manuscripts, letters, portraits, and even a lock of his hair.

Continue on Getreidegasse, taking in the whole colorful scene, all the way to its end. There make a hard left into Bürgerspitalgasse, passing on your right the ornate Pferdeschwemme (4), surely the most elaborate horse trough you'll ever see. Built around 1700, it was reserved for the exclusive use of the archbishop's horses. Just beyond this a tunnel pierces the Mönchsberg mountain, carrying Neutorstrasse into the western suburbs and the airport. Continue past the massive Festspielhäuser (5), a partly-underground complex of three performance halls cut into the mountainside and used for the annual Festival as well as other events.

At the far end of this, across the street, is something you might not expect to see in Baroque Salzburg. The Rupertinum Gallery (6) houses a collection of contemporary art augmented with excellent temporary exhibitions of modern painting, sculpture, and photography. The 17th-century building is unusual, having been remodeled by Austria's master of Fantastic Realism, Friedensreich Hundertwasser. T: (0662) 842-2200. Open daily 10-6, remaining open on Wed. until 9. €€.

Across Sigmund-Haffner Gasse stands the Franziskanerkirche (Franciscan Church) (7), consecrated in 1223 but altered several times since. Its long history is evident as the Romanesque nave gives way to a late Gothic chancel and a Baroque altarpiece.

The route now goes through a passageway opening into Dom Platz (Cathedral Square), the setting for the annual Festival production of Hugo von Hofmannsthal's 1911 play Jedermann (Everyman). In the center stands the Mariensäule, a column of 1771 with a figure of the Virgin. Cathedrals have stood on this square since the 8th century; the present Dom (8) is from the 17th. When its predecessor burned down in 1598, the then-archbishop Wolf Dietrich (see Schloss Mirabell, above) planned a truly monumental replacement. After Wolf went to jail for his political manipulations, his successor, Markus Sittikus, engaged the architect Santino Solari to design a more modest structure in a restrained Italian style, which was consecrated in 1628. The infant Mozart was christened here in 1756, in the 14th-century font, and later served as organist from 1779-81. At the cathedral's entrance are three massive bronze doors of 1958, representing Faith, Hope, and Charity. Just inside, to the right, is the entrance to the Dommuseum with its collection of cathedral treasures and some "arts and wonders" from the 17th century. MuseumT: (0662) 844-189. Open mid-May through Oct., Mon.-Sat. 10-5, Sun. 1-6. €.

Stroll north into the adjacent Residenzplatz, where a great 35-bell Glockenspiel (carillon) set atop the Neubau Palace plays tunes at 7, 11, and 6, followed in season with a mighty organ response from the Hohensalzburg castle on the hill above. In the center of the square is the Residenzbrunnen, an enormous marble fountain of the 17th century, often regarded as the finest of its type outside of Italy. Mozartplatz, a few steps to the northeast, is home to the tourist office as well as some cafés. The western side of Residenzplatz is dominated by the:

*RESIDENZ (9), T: (0662) 804-226-90. Open daily 10-5. €€, includes audio-guide device and Residenzgalerie.

Like the Residenzplatz and other places in Salzburg, this palace is mostly the creation of the unfortunate Archbishop Wolf Dietrich, who wound up in the dungeons of Fortress Hohrnsalzburg for his trouble. The archbishops certainly liked to live in style as they performed their ecclesiastical duries — witness the fantastic Prunkräume (state rooms) that you will wander through as your audio-guide explains everything in English. Also included is the Residenzgalerie, a masterful collection of European paintings from the 16th to the 19th centuries, with an emphasis on 17th-century Dutch and Flemish works by Rembrandt, Brueghel, Rubens, and the like.

Follow the map through Kapitelplatz, home to the Kapitelschwemme, another magnificent white marble horse trough, and to the Erzbischöfliches Palais (Archbishop's Palace) of 1602. Pass through a gateway into St.-Peter's- Friedhof (10), an unusually peaceful cemetery with graves dating as far back as the 17th century. Mozart's sister, Nannerl, is buried here, as is a part of Haydn's brother Michael. The tiny St. Margaret's Chapel in the corner was built in the 15th century. Of prime interest to visitors are the ancient Katakomben (catacombs) cut into the rock face, with a 3rd-century chapel where secret masses were celebrated during Roman times. T: (0662) 844-5760. Catacombs open May-Sept., Wed.-Thurs. 10:30-3:30, Fri.-Sun. 10:30-4. €.

What may well be Salzburg's most beautiful church, the *Stiftskirche St. Peter, stands just west of the cemetery. Begun in the 12th century in the Romanesque style, it was drastically altered during the 18th century in the full-blown Rococo manner. Enter through the 13th-century marble Romanesque doorway on the west front to admire the gilded wrought-iron grille dividing the porch from the nave. Saint Rupert, who in AD 696 basically founded Salzburg on the remains of the Roman settlement of Juvavum, is buried here. Open 9-12:15 and 2:30-6:30.

Nearby is the base station of the Festungsbahn (11), a funicular that carries you up to that ancient castle high above the town. Operates every 10 minutes May-Sept., daily 9-9; rest of year daily 9-5. €€, includes entrance to castle grounds but not interior or museum; buy an "up" ticket only as you'll be walking down.

*FESTUNG HOHENSALZBURG (Fortess Hohensalzburg) (12), T: (0662) 842-430-11. Grounds open daily mid-June to mid-Sept., 8:30-8; mid-Sept. to mid-March, 9:30-5; mid-March to mid-June 9-6. Interior and museum hours slightly shorter. Combo ticket €€.

Salzburg's mighty fortress was begun in 1077 bt Archbishop Gebhard as a stronghold in the struggles between the Pope and the Holy Roman Empire of the German Nation, reached its present form in about 1500, was more heavily fortified during the 1600s, and abandoned during the Napoleonic wars. In 1861 it was partially restored and put to use as a military barracks, prison, and arsenal. You can walk around the grounds for some wonderful panoramic *views, after which you might want to take a tour of the interior rooms and visit the two small museums.

While on the hill, you can visit the nearby Stift Nonnberg (13), the oldest convent in the German-speaking world. Founded by St. Rupert around AD 700, it remains in use today — and was home to the real Maria von Trapp of The Sound of Music fame. Its Gothic church is from the late 1400s but incorporates frescoes from an earlier Romanesque church.

Return to the lower town via the steep Festungsgasse. Since this is the end of your tour, you might want to relax at the conveniently-located Stieglkeller (14), an enormous beer hall with a delightful outdoor beer garden overlooking Salzburg, a great place to watch the sun set over the mountain.

NEARBY ATTRACTIONS:

There are several small attractions very close to Salzburg that might interest you, especially if you're staying overnight. Two of the best are:

Schloss Hellbrunn — the archbishops' fabulous pleasure palace is located just three miles south of Salzburg. Built around 1615 for Archbishop Markus Sittikus, the palace has an interesting interior noted for its trompe l'œil decorations. Its main attraction, however, are the gardens with their cunning wasserspiele (water play) tricks that douse unsuspecting guests with hidden sprays of water. Be prepared to get a little wet! Get there on bus #55 from the station, Mirabellplatz, or Mozartsteg, in the direction of Anif. By car, bike, or foot take Hellbrunner Strasse south. T: (0662) 820-3720. Open July-Aug., daily 9 a.m. to 6 p.m.; May, June, Sept., daily 9-5:30; April and Oct. daily 9-4. Combo ticket €€.

Stiegl's Brauwelt — the glorious history and culture of beer around the world is celebrated at this vast brewery museum, where visitors end their tour with a sampling of the local product, a pretzel, and a souvenir glass. Bräuhausstrasse 9. Take bus #1 or #2 to Bräuhausstrasse. By car, head west through the tunnel by the Festspielhaus, then take Neutorstrasse, Moostrasse, and Nussdorfer Strasse to Bräuhausstrasse. T: (0662) 838-714-92. Open daily 10-5, until 7 in July-Aug. €€.

Copyright © 2007 by Earl Steinbicker

Why are the pictures in Black & White? Because that's what I needed for the book. The photo above of the Getreidegasse is a much older one that I took in 1970 for the cover of Opera News magazine. Here are some links:

READ Daytrips Bavaria for free on Google Books

More free Daytrips sample chapters

And some related trips:

Vienna's Kahlenberg Heights

Beethoven's Vienna

Hallstatt

Hallein

Also, Salzburg is only a stone's throw from Berchtesgaden in Germany.

 

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BEETHOVEN'S VIENNA

Back in 1970 my business partner and I were doing photography for Pan Am in Paris. With a few days off, we decided to fly to Vienna and do an assignment that I had for Opera News Magazine, photographing the various places in the Austrian capital associated with Ludwig van Beethoven. Several years later, in 1979, as part of my Great Trips / Europe project I was able to use photos from this trip on one of my brochure guides. This was the result:

NOTE: This material is nearly 30 years old, so some of it is out of date. But not much. With a few changes, you should be able to easily take the same Little Adventure today. Ask at your hotel, the local tourist office, or consult a good guidebook*.

Beethoven's Vienna

A One-Day Trip in Vienna

Great Trips / Europe #48

Text, map, and B&W photos Copyright © 1979 Earl Steinbicker

INTRODUCTION:

Vienna during the 18th and 19th centuries was the unchallenged world capital of music, a magnet that attracted the talents of many young composers intent on rising to the top of their art. Perhaps the most famous of these émigrés was Ludwig van Beethoven, born 1770 in Bonn, Germany. His musical gifts became apparent at an early age and were exploited by an alcoholic father, a musician in the chapel of the Elector. Having gained the attention of the local nobility, the boy was sent at their expense to Vienna in 1787, where he received lessons from Mozart. Within weeks, however, his mother died and he returned to Bonn, soon to be faced with the task of supporting his now unemployed father and two younger brothers. Rising above his petit bourgeois origins, the young Beethoven became close friends with several members of the aristocracy, and it was through them that, in 1792, he again went to Vienna; there to spend the rest of his life.

Beethoven's position in the history of music can hardly be overestimated. He was the transitional force between formal classicism and romanticism; the first to successfully abandon pretty tunes for richer mining in the emotional depths of the human soul. He was probably also the first musician to earn a living exclusively on a free-lance basis, unconnected with any court. Although he had his share of financial difficulties, Beethoven was never poor. Nor did he lack acclaim; his works being well received throughout most of his career. Vienna, indeed, was very fortunate to claim this pivotal talent as one of its own.

During the thirty-five years preceeding his death in 1827, Beethoven had a great many different addresses in and about Vienna, having moved no fewer than seventy-nine times. This was due more to his tempermental nature than to landlord problems, as is commonly supposed. While many of these dwellings no longer exist, a few have been preserved and four now contain small museums of his life. Our trip will visit those that are most significant in understanding the composer's genius. We begin in the elegant suburb of Baden, traveling mostly by tram through Vienna, and wind up in the wine-producing foothills north of the city, there to perhaps enjoy a glass or two of heurige in Beethoven's own backyard.

Before you start out on this delightful adventure, however, I would like to add one small disclaimer. In Beethoven's time accurate records were not always kept of the comings and goings of each citizen; it is therefore possible that a few of the places may be more legend than fact. The composer himself, perhaps from having moved so often, was rather casual about addresses, so that in two cases, that of the Baden House (4) and the Testament House (10), no hard evidence exists proving that he actually lived there and not in a neighboring building. Please accept both in the spirit of symbolic memorials rather than proven fact and enjoy their contents — which are genuine.

TRANSPORTATION:

You will be using streetcars — trams — for most of this trip, a colorful way to see most of the city at the same time. For the sake of convenience, and to save a few schillings, you should purchase a 24 hour transit pass, called a 24 STUNDEN NETZCARTE, at a local tobacco shop in Vienna. Validate it in the device provided on board the tram (or bus or in the subway station) at the beginning of the first ride, then retain it throughout the day.

The streetcar that goes to and from Baden — the BADNER BAHN — is privately owned and does not accept the pass. You will have to pay a cash fare both ways. If you have a Eurailpass or Austria Ticket, you can save money by taking the regular tram to the South Station (Südbahnhof), there boarding one of the frequent railroad trains to Baden. The insert map of Baden shows the location of both the train station and the terminus of the Badner Bahn.

TIME AND WEATHER:

This trip should be made in warm weather, between late April and late October, when the Beethovengang is at its most charming, the Heurigen are open, and the museum in Baden is operating. Everything is closed on Mondays, and the Baden Museum on Thursdays. Sundays and holidays present limited hours and little tram service. Therefore, make the trip on a Tuesday, Wednesday, Friday or Saturday. As little walking is involved, the day does not have to be particularly nice, so long as you are suitably equipped. Be sure to start out by at least 8:30 AM — the Baden museum closes at 11.

FOOD AND DRINK:

Upon returning from Baden, you will be in the area of the Opera (1) just in time for lunch. Within a few blocks are numerous restaurants of every description. After this, however, the pickings are slim until you get to the end at Heiligenstadt, where there are a few eating places as well as the charming café in the Beethoven House ar no. 2 Pfarrplatz (10), which also serves food.

THE TRIP:

Begin at the streetcar stop of the Badner Bahn on the Ring diagonally opposite the Vienna Opera (1), a central point that is easy to reach. There board the large and wonderfully old fashioned tram to Baden, paying your fare to the conductor. Passing along city streets, through suburbs, and finally open countryside, you will find the 70-minute journey to be both interesting and enjoyable. Upon arrival at the Baden terminus of the line, Josefs Platz (2), follow the insert map a few blocks to the Beethovenhaus (4) at no. 10 Rathausgasse.

If you have elected to take the regular railroad instead, begin your trip at the Südbahnhof station in Vienna, which can be reached from the Opera by the D line tram and from other parts of the city via tram, bus, Schnellbahn, or subway; all covered by the transit pass. There is no point in taking the regular train as opposed to the Badner Bahn unless you have a Eurailpass or Austria Ticket and wish to save a few dollars. Upon arrival at Baden Station (3) follow the insert map to the Beethovenhaus (4).

During the latter years of his life, Beethoven occupied several different houses in Baden, a town he favored for both its aristocratic atmoshere and noted hot springs, believing that exposure to the latter would alleviate his deafness. This faith, of course, was in vain and the great tragedy is that he never heard his own Ninth Symphony — although he sat with the orchestra at its premier. By tradition, the house you now visit is the one in which he wrote that consummate work. With a quiet simplicity characteristic of all his lodgings, this small museum speaks volumes about his life. To the casual observer, such tiny quarters seem out of place in light of his fame and social recognition. It must be realized, however, that Beethoven kept as many as four different apartments at the same time to satisfy his constant restlessness. As you now see it, the room is clean and tidy, quite the opposite of the slovenly conditions in which he always lived.

While in Baden it would be interesting to see some of this elegant resort town, so long favored by royalty. The short walks shown on the insert map will take you to the Casino and Kurpark (5), the main square, and back to either the Badner Bahn terminus (2) or the station (3).

Returning to the Opera (1) in Vienna, either board the D tram on the Ring in the direction of Nussdorf and take it to Schottentor, or walk there following Augustin Strasse and Herrengasse. The house at number 8 Mölkerbastei, known as the Pasqualati House (6), sits atop what remains of the old city walls. Beethoven lived here, on and off, for a total period of eight years, mostly between 1804-08 and 1810-14. The landlord, a Baron von Pasqualati, was an admirer of his and assisted him in legal matters. The apartment on the fourth floor, now a museum, is up a narrow staircase and has an excellent collection of Beethoven memorabilia.

Cross the Ring at the Schottentor underpass and follow Währinger Strasse a few blocks to Schwarzspanier Strasse. At this intersection board the G2 streetcar in the direction of Hohe Warte, in Heiligenstadt. As the tram runs along Döblinger Hauptstrasse keep an eye on the house numbers to the right. Get off at no. 92, just past Pokornygasse. This is the Eroica House (7), in which Beethoven composed much of his Third Symphony during the year 1803. Both the house and the neighborhood, once rural, have undergone great changes. The four rooms in which the composer lived have been recently restored to their original condition and may be visited. A small collection of keepsakes is displayed.

Return to the streetcar stop and continue on by tram in the same direction to Hohe Warte, the end of the line. Get off and walk straight ahead on a footpath into Heiligenstädter Park, where you will find a remarkable monument (8) commemorating Beethoven's stays in that village. Turn left on Grinzinger Strasse and follow it two blocks beyond the church to no. 64, the home (9) in which he composed his Sixth Symphony, the Pastorale, in 1808. It is not open to the public but its exterior is much the same as it was in those days.

Return to the intersection by the church and turn left on Armbrustergasse, then make a right onto Probusgasse. Enter the doorway at no. 6. In the courtyard there are two small museums (10), both up short flights of stairs. It is traditionally assumed that this is the house in which Beethoven wrote his profound Heiligenstadt Testament of 1802, a letter to his two brothers in which all of the grief and despair brought on by ever-increasing deafness is poured out in an emotionally charged document. Be sure to read the English translation.

Continue along Probusgasse to Pfarrplatz, where the house at no. 2 (11) is now a heurigen, serving both new wine and food. The composer lived here in 1817. Although the rooms cannot be visited, you may very well enjoy sitting at one of the tables in the courtyard and trying the local product. But first stroll a few blocks up the quiet Eroicagasse to the Beethovengang (12). Here a footpath to the left follows a tiny brook in a setting of rural tranquility, along which the immortal musician often strolled, gathering the strength that manifests itself in his work. At the end you will find the earliest memorial to his genius, erected in 1863.

Retrace your steps to the Eroicagasse, at which point you can either return to Pfarrplatz for some wine and food, or continue along the stream to Nussdorf (13), the end of the line for the D tram, which goes back to the Opera (1).

AGAIN, please remember that I wrote this nearly 30 years ago, so some changes must be expected. If you intend to make this trip yourself, be sure to check locally for up-to-date information. This is especially true concerning transportation.

*AND THAT GOOD GUIDEBOOK IS NOW HERE!

Daytrips Austria

 

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