Viennese Opera: Riffing (again) off of Alison's Vienna-themed Infographic and Evolutionary Economics Discussion

Based on the the crucial infographic (see below) generously offered to us by @AMcD, I have already dug a bit into Bertalanffly/General Systems Theory and the Bertelanffly Center for Study of Systems Science. See here: Ludwig von Bertalanffy/General Systems Theory (GST) -- Checks off Many Boxes (Vienna/Austria ~ Howard T. Odum ~ Father/Son Laszlo ~ Social Physics).

Inspired by this most recent discussion by @AMcD (in which she mentioned music in Vienna), I would like to begin to turn my attention to music associated with Vienna, with particular attention on Viennese opera. It does bump us into Mozart (mentioned by @AMcD), Freemasonry (noted in her infographic above), Austrian nobility (and associated secret societies) . . . and Billy Joel and his half-brother (as well as father and grandfather) as well. Who knew?

I do not know exactly where I am going with this, but when @AMcD mentioned the missing piece (circle) of music, I had a sense to go in this direction. I am curious as to where it may lead . . .

I will leave the following links as placeholders, and circle back soon (in an effort to tie them together) . . .

When will you realize
Vienna waits for you?

Karl and Meta Joel, a middle class Jewish couple, lived in Nuremberg in Bavaria, in the southeast area of Germany. Karl was a talented businessman and, on learning of the success of mail order catalogs in the United States, decided to launch a European operation in 1928.

The Joels’ only child, Helmuth (Howard) Julius Joel, was 12 in 1935 and remembers the Hitler Youth and the SS training on weekends in a forest next to their home. They were terrified. In 1938, the government forced Karl Joel to sell his business for pfennig on the deutschmark. More pressing than selling their livelihood, however, was getting out of Germany. Faked passports in hand, they fled to Switzerland. In the process of escaping Germany, they were swindled out of a large share of what was supposed to have come to them.

The Joels ultimately ended up in New York via England and Cuba. Helmuth, then 19, became the family’s primary breadwinner until he joined the army. Helmuth, now Howard, was with the American troops who liberated the Dachau concentration camp at the end of April 1945.

Howard came back from the war and married Rosalind Hyman, who came from a family of cultured English Jews. On May 9, 1949 Rosalind gave birth to William Martin Joel; shortly afterward the family moved to Levittown, Long Island.

Helmuth Julius Joel

Birthdate: June 12, 1923
Birthplace: Nuremberg, Middle Franconia, Bavaria, Germany
Death: March 08, 2011 (87)
Vienna, Vienna, Austria
Immediate Family: Son of Karl Amson Joel and Meta Joel
Husband of Private
Ex-husband of Rosalind Nyman
Father of Billy Joel; Private and Private

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This is one of the chapters in the book - relates to automata and ETA Hoffman’s “The Sandman,” looping back to Gaiman’s series.

See references to Olympics (Olympia and clockwork)

Nathanael returns to complete the final year of his studies, after which he intends to return to his hometown forever. He finds his student lodgings destroyed by fire, though his possessions were rescued by his friends and moved to a new house which is opposite that of Spallanzani. His window now looks directly into that of Olimpia, and he is again struck by her beauty. Coppola calls to sell his wares, and offers “pretty eyes, pretty eyes!” which reawakens Nathanael’s childish fear of the Sandman. However, it turns out that Coppola has lenses and spectacles to sell, and also small telescopes, and Nathanael buys one of these from him to set matters right after his earlier outburst. As Coppola leaves, Nathanael becomes fixated on watching Olimpia through his telescope, although her fixed gaze and motionless stance disconcert him.

Spallanzani gives a grand party at which it is reported that his daughter will be presented in public for the first time. Nathanael is invited, and becomes enraptured by Olimpia, who plays the harpsichord, sings and dances. Her stiffness of movement and coldness of touch appear strange to many of the company. Nathanael dances with her repeatedly, awed by her perfect rhythm, and eventually tells her of his passion for her, to which Olimpia replies only “Ah, ah!”. During the following days, he visits Olimpia repeatedly, reading her the poems and mysticism that had so bored Clara, and Olimpia listens to it all and replies only “Ah, ah!”, which Nathanael interprets as understanding. Most other people consider her dull and stupid, although pretty, and with strangely mechanical actions. (kind of like the Eliza program?)

Eventually Nathanael determines to propose to Olimpia, but when he arrives at her rooms he finds an argument in progress between Spallanzani and Coppola, who are fighting over the body of Olimpia and arguing over who made the eyes and who made the clockwork. Coppola, who is now revealed as Coppelius in truth, wins the struggle, and makes off with the lifeless and eyeless body, while the injured Spallanzani urges Nathanael to chase after him and recover the automaton to which he has devoted so many years of his life. The sight of Olimpia’s eyes lying on the ground drives Nathanael to madness, and he flies at the professor to strangle him. He is pulled away by other people drawn by the noise of the struggle, and in a state of insanity, is taken to an asylum.