Charlottenburg

noch gesehen gehabt.

Genau, in Charlottenburg.

Da habe ich auch in Charlottenburg gewohnt.

Ja, genau.

Ja, Mann.

But like every district has different, I would say different street that's really epitomizes a part of Berlin's history.

One place I really love, Charlottenburg, which was the richest town in Prussia.

back in the 1700s.

That's in West Berlin.

And that I think that's also a really big part of German cabaret culture is like politics infused in music and entertainment and humor.

So that has a slightly different focus.

And then the third opera house, which is called the Deutsche opera is in Charlottenburg and it was built.

It was built when Charlottenburg was a separate village on the West of Berlin.

The 27-year-old moved to Berlin four years ago and didn't initially have Marzahn on his radar as somewhere to base himself.

Also the name, if you just check how it sounds, Marzahn, you know, it's not like Charlottesburg, you know, it's like Marzahn.

It sounds like a place where, you know, hard, just get ready to go there.

The architecture, the whole things help you to get closer to the others.

Still another tone poem was to succeed, A Hero's Life, Ein Held in Leben, performed under the composer's direction in Frankfurt.

The work is autobiographical, with the composer himself as its hero and his helpmate, obviously Frau Pauline, his better half, as she was to be called, for a long time ein heldenleben passed as the prize horror among strauss's creations especially its fierce and rambunctious battle scene which some critics considered a kind of bugaboo with which to frighten the wits out of grown-up concert-goers for its day a hero's life was unquestionably strong meat if people were horrified by the racket and cacophony of the battle scene they were no less disposed to irritation at the cackling sounds with which strauss pilloried his benighted foes who resented his aims and accomplishments and they were displeased by the immodesty with which he exhibited himself as a real and misprized hero by the citation of fragments from his own works some among them as staunch a strauss admirer as romain rolland were disturbed not because the composer talked in his works about himself but because of the way in which he talked about himself all the same strauss was to boast no truer champion throughout his career than the sympathetic and keenly understanding author of jean christophe ein heldenleben was the last but one of the series of tone poems which were to lead to a new phase of richard strauss's career the last of this series the symphonia domestica was completed in charlottenburg berlin on december thirty one nineteen o three its first public hearing took place under the composer's direction in carnegie hall new york march twenty one nineteen o four the domestic symphony dedicated to my dear wife and our boy is in one movement and three subdivisions after an introduction and scherzo there follow without break an adagio then a tumultuous double fugue and finale the reviewers discovered all manner of programmatic connotations in this depiction of a day in strauss's family life though he was eventually to tell a new york reviewer that he wanted the work to be taken as music pure and simple and not as an elaboration of a specific program he maintained his belief that the anxious search on the part of the public for the exactly corresponding passages in the music and the programme the guessing as to the significance of this or that the distraction of following a train of thought exterior to the music are destructive to the musical enjoyment he forbade the publication of what he sought to express till after the concert he might as well have saved himself the trouble there is no room here to point out even a small fraction of what the critics heard in the work encouraged by a casual note or two the conductor found it necessary to set down at certain stages of the score the youngsters aunts are supposed to remark that the infant is just like his father the uncles just like his mother a glockenspiel announces that the time at one point is seven in the morning the child gets his bath and the ablutions are accompanied by shrieks and squeals husband and wife discuss the future of the baby and there is a lively domestic argument which ends happily ernest newman irritated like the numerous other reviewers by the torrents of vain talk the piece called forth was to complain that strauss behaved as foolishly over the domestica as he might have been expected to do after his previous exploits in the same line the first organization to perform the work was the orchestra of hermann hans wetzler in new york and it took several months longer for the music to reach germany mr newman had found the texture of the whole is less interesting than in any other of strauss's works the short and snappy thematic fragments out of which the composer builds contrasting badly with the great sweeping themes of the earlier symphonic poems the realistic effects in the score are at once so atrociously ugly and so pitiably foolish that one listens to them with regret that a composer of genius should ever have fallen so low more than a decade was to elapse before strauss was to concern himself again with problems of symphonic music opera and ballet were to be the chief business of these activities which one may look upon as the middle period of his creative life one may be permitted a short backward glance to account for some of his previous creations songs a number of the best of them an enoch arden setting declamation with piano accompaniment occupy the late years of the nineteenth century and the dawn of the twentieth not to mention the choral ballad for mixed chorus and orchestra More important, however, is a second operatic venture.

This opera in one act, called Feuer's Not, is a setting of a text by the noted Ernst von Wolzogen, who was associated with the vogue of the so-called Überbrätel, a sort of up-to-date vaudeville and arty movement typical of the period.

Foyer's note is a picture of a fire famine brought about by an irate sorcerer in revenge for the act of a maiden who scorned his love.

By the early 1940s Wolf was living a double life, with his wife and children living in a ten-room house on the banks of Lake Tegernsee near the Alps in Bavaria.

While in the Charlottenburg district of Berlin, the Countess lived with two children from an earlier marriage and Karl's illegitimate son.

It was here that Wolf spent most of his time, and by 1942 he had decided that he wished to divorce his wife and marry Ingeborg.

The complication was that the divorce and remarriage of any SS member had to be approved by Himmler.

Even the obviously better off show up in the streets and stroll through Berlin in pretty summer dresses, looking for work, barter goods or a flat.

Many of the undestroyed houses and villas in the suburbs of Dahlem, Zehlendorf or Charlottenburg have been requisitioned by the British and Americans to house the occupying troops.

Ruth Andreas Friedrich writes in her diary,

Our soldiers have also seized quarters in Russia and France, only that one obviously feels something like this much more bitterly when it happens to oneself.

So I thought we could share this together.

And it's a photography exhibition that is taking place at Charlottenburg.

And it's from Jochen Lampert, Flora Incognita, it's called.

I will not say more.

At last one of the girls, who had been the first one to compose herself, explained to us why they were so much excited.

The girl had been at a boarding school at Charlottenburg, Germany, for more than two years, and her brother, who worked in Berlin as a civil engineer, had taken a holiday for three months after her graduation in order to accompany his sister home.

Both had liked living in Germany.

It was only the sudden outbreak of war that had prevented the young engineer from returning to Berlin.

But in the continental cities in Northern Europe, in Germany, in Sweden, they had a renaissance of this building typology.

And so this developer went over to Berlin, to Charlottenburg, saw these apartments that were being built there, and came back to Queens and built these blocks.

It was a huge commercial success.

Everyone was like, "This is it.