Karl und Charlotte-Szenen einer Ehe, Teil 1- 5 (German Edition)

Spemanns Musik-Kalender, Januar , S. BerrscheA Alexander Berrsche: Das Klingler-Quartett, Klappentext zu: Largo aus dem Streichquartett Nr. Amtliche Mitteilungen der Reichsmusikkammer, Jg. IhlertH Heinz Ihlert: IhlertH a Heinz Ihlert: Deutscher Violinvirtuose und Komponist, in: BoegnerM Mathias Boegner: Portrait and Pedagogic Achievement. BollertW Werner Bollert: Karl Klingler und sein Quartett, in: Die Gleichschaltung der Berliner Musikhochschule ab , in: Musik in der Emigration FinscherL Ludwig Finscher: Die Musik in Geschichte und Gegenwart.

FleschC Carl Flesch: Erinnerungen eines Geigers, 2. Hauskonzerte in Berlin, Berlin: JahnG Gisela Jahn: KnickmannT d Tobias Knickmann: MilsomD David Milsom: Perspectives upon the German classical school of violin playing in the late nineteenth century, in: Nineteenth-century music review, Jg. MuckP Peter Muck: Einhundert Jahre Berliner Philharmonisches Orchester. Darstellung in Dokumenten, 3 Bde. PotterT Tully Potter: The concert explosion and the age of recording, in: Cambridge University Press, , PriebergFK Fred K.

Handbuch deutsche Musiker , 2. Riemann Hugo Riemanns Musiklexikon, 2 Bde. Riemann Riemann Musik-Lexikon, 3 Bde. ScheibmayrE Erich Scheibmayr: Konzertdirektion , Berlin, Wiesbaden: ZentnerW Wilhelm Zentner: Karl Klingler 90 Jahre. Ein Geiger von Ruf, in: Charlotte von Wedel, geb. Satz x px Ex libris der Familie Klingler. Karl Klingler — Links Links http: Familie Theodor Klingler um , v. Karl Klingler in jungen Jahren x px. Doppelhochzeit zweier Schwestern, v. Throughout the narrative, the narrator is faced with unresolved issues about love and betrayal. But things do not come to an end, one has to bring them to an end.

Schwind and Gundlich, even as the story opens, are established in their separate fields, but Irene still aims for an independent identity. The narrator, who has aimed for security and equanimity for much of his life, occupies a private restiveness, which is rooted in inexperience and blurry desires. Forty years later, he must reconcile history, change, redemption, and the difference between love as illusion or reality. The novel demonstrates that the life we dream, the one we live, and the choices we make coil together on the continuum of human experience.

Existence is not finite, perhaps not even in death. Even the inanimate evolves. The premise it spins on is developed in the first 25 pages: Schwind is commissioned as a painter for Gundlach, the subject being his much younger wife. The wife leaves Gundlach for Schwind. Gundlach defaces the painting. Our narrator is hired by Schwind to negotiate a deal whereby Schwind would restore the masterpiece at his cost.

While performing his duty, our predictable, rather dull narrator makes unpredictable choices when he falls in love with Irena. But quickly, I ran into an obstacle: Irena, the nude, pale and blond subject of the painting, is not pardon the pun fleshed out enough to make me believe that she is so irresistible to these men, particularly to the narrator. Irena, a focus of the novel, believes she was forced into friendly packaging — the trophy, the muse, the damsel in distress.

These roles, she says, make women predictable and interchangeable. And so she strikes out. We, as women, do have choice about the roles we embody and how we define them. Irena, as a fictional character can, of course, exert her own beliefs, but those beliefs would tend to distance the put-upon narrator, not draw him closer to her. Bernhard Schlink is capable of better.

View all 4 comments. I'm half way through and I don't really care to finish. You could basically call this "There's Something About Irene". All of these dudes come after this woman because of how she makes them feel about themselves, not because they give a shit about her. The only satisfying conclusion I can come up with is if she burns down her house with all three of these douchebags inside. May 02, Isabella rated it it was ok. Ein wiederaufgetauchtes Kunstwerk und eine tragische Liebesgeschichte - das klang nach einer reizvollen Mischung. Gegen Ende wird die Geschichte sehr tragisch, zu meinem Herzen konnte der Roman aber wie gesagt nie richtig durchdringen.

Das hatte vor allem damit zu tun, dass mir Irene von Anfang an unsympathisch war. Jun 24, Marisa Fernandes rated it it was amazing. Especialmente porque acredito que teria muitos leitores a gostar dele tanto como eu gostei. Mantendo um estilo de escrita claro e simples, sem ser simplista, Schlink brinda-nos com algumas passagens dignas de nota.

Deixei-te pintar naquele tempo para que permanecesses jovem e eu contigo. E voltarei certamente a Schlink muito em breve! View all 6 comments. Affairs and penis feels. View all 3 comments. I'm not quite sure what to make of this book. It was such an awkward start, with a young attorney involved in a ludicrous contract, falling immediately in love with a mysterious women.

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I had a very hard time buying into the storyline and never particularly liked the protagonist. But there's something compelling about Schlink's simple and direct writing. I finished this in two sittings. And, in an unusual admission for me, this book finished stronger than it began. Not sorry I read it, but I won't I'm not quite sure what to make of this book. Not sorry I read it, but I won't be quick to recommend. For my money, Stolen Beauty is the far superior read-alike. Sep 07, Patricia Kaiser rated it liked it.

Eigentlich sind es eher 2. Es gibt zu viele offene Fragen, auf die ich gerne eine Eigentlich sind es eher 2.

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Jan 01, Luisa Marie added it. Keine Lebensbereiche werden ausgelassen. I found this latest book from Bernhard Schlink tedious. I had high expectations as I found The Reader so moving and profound. I did not warm to the un-named narrator, who was unappealing: The woman on the stairs, Irene, was never fleshed out as a real woman and was a barely veiled device to drive what little narrative this novel had.

What was the point? If I want existential angst, I will return to a master I found this latest book from Bernhard Schlink tedious. If I want existential angst, I will return to a master, such as Albert Camus.

The language was pedestrian - perhaps not a good translation? By the time I forced myself to finish this, I'd already forgotten how it had started, and frankly didn't care! At least it was short - but not so sweet! Dec 26, Artak Aleksanyan rated it it was amazing. The Woman on the Stairs is very easy to read, with short, sharp chapters and nary a loose word from start to finish. I was half way through before I realised that I wasn't just reading a fast and easy mystery, but a work of genius. My only negative was a slightly unconvincing portrayal of coastal NSW, though he managed Sydney quite well.

I'm still thinking about The Woman on the Stairs, twenty-four hours after I finished it. Mar 05, Cindy rated it really liked it. Mein erstes Buch von Bernhard Schlink und nicht mein letztes. For some reason, however, I had not picked up any of his other books in the intervening years. The Woman on the Stairs , first published in German in and in English translation by Joyce Hackett and Bradley Schmidt in , is described as 'a tale of obsession, possession and a mystery painting', and its description certainly intrigued me enough to buy it.

Just as mysteriously as a painting Like many readers, I very much enjoyed Bernhard Schlink's The Reader when I read it quite some time ago. Just as mysteriously as a painting disappeared, it is found again, donated anonymously to a gallery in Sydney. At this revelation, 'the art world is stunned but so are the three men who loved the woman in the painting, the woman on the stairs. Schlink describes the painting like so: The right foot lands on the lower tread, the left grazes the upper, but is on the verge of its next step. The woman is naked, her body pale; her hair is blonde, above and below; the crown of her head gleams with light.

Nude, pale and blonde - against a grey-green backdrop of blurred stairs and walls, the woman moves lightly, as if floating, towards the viewer. And yet her long legs, ample hips, and full breasts give her a sensual weight. The prose here did not grab me at all; I found it rather matter-of-fact, and consequently, some of the chapters felt rather dull.

The plot was flimsy and stretched in places, particularly given the space in the novel which was devoted to certain elements.

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The narrator of the piece, a self-important lawyer, did not feel realistic. Despite the first person perspective, there was a sense of detachment and impersonality throughout.

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The pace also felt problematic; it plods along from one chapter to the next, and nothing about it was particularly interesting. I did not connect in the slightest with either the characters or the slowly ensuing story.

There is often no distinction between past and present here, and consequently, the book becomes rather muddled. I found that there is barely any depth within The Woman on the Stairs ; it is rather a superficial novel. Indeed, there is barely anything else within the plot which is not suggested or baldly stated in the blurb. The love story element, which was horribly inevitable, is wildly overblown, and highly rushed.

Whilst I was impressed with The Reader , there seems to be very little, if any, of the power which suffuses its plot and pages in this particular tome. In fact, if I were to read both The Woman on the Stairs and The Reader without knowing which was the earlier book, I would select the former; it feels unpolished, and almost as though it is a first draft.

I found the novel lacklustre, and whilst I did not expect to enjoy it as much as I did The Reader , I still expected that it would be well written, taut, and poignant. Unfortunately, none of these are words which I would use describe the novel.

Die Frau auf der Treppe

The prose is too plodding, and the dialogue offered very little, no matter which character was speaking. There is no emotion here, and I have come away from the novel wondering why I bothered to read it in its entirety. This book starts with a generous measure of vague purpose or direction that almost led me to abandon the book. But, doggone it, I had just recently abandoned at least 4 books I didn't have enough patience to read. This one had me guessing as to who would be murdered and why and how since it centers on the love of one woman by three very different men and very different types of love.

So I kept on reading, wanting to find where the author was going with this strange plot. There was no murder, but This book starts with a generous measure of vague purpose or direction that almost led me to abandon the book. There was no murder, but there was a disappearance of the woman and the painting of her. It finally rewards with an unusual rebirth of a man who had all the trappings of success but no ability to feel love, happiness or any sense of contentment. This was a poignant tale showing the potential for love to change ones perspective when faced with loss.

I don't think I have read many contemporary German authors. I may look for more of his writing. The early part of this novel by Schlink unfolds across two timeframes. The painting comes as a surprise as the last time the man saw it he was representing its painter and in love with its subject. As a young lawyer in Germany, our unnamed narrator meets painter Karl Schwind and his mistress Irene Gundlach.

Schwind's seeking access to the picture of Irene from Peter, Irene's estranged husband who c The early part of this novel by Schlink unfolds across two timeframes. Schwind's seeking access to the picture of Irene from Peter, Irene's estranged husband who commissioned the painting while they were still married in order to repair various faults.

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Things end badly and many years pass. Our narrator is widowed with grandchildren when work brings him to Sydney. And to the gallery where he sees Schwind's painting for the first time in many decades. Wondering how it came to be there, our narrator tracks down its owner - discovering Irene, now Irene Adler living on a remote and fictitious cove off the Australian coast.

It seems incredibly fortuitous but the inclusion of her painting in the high profile exhibition brings all players together as Karl Schwind and Peter Gundlach also descend on Irene's refuge almost half a century after they last crossed paths. At times our narrator was so unlikeable, so self-absorbed and emotionally-stunted that it would be easy for readers to disengage. But the self-reflection, earnestness and sense of regret Schlink invests in him means the hope of redemption remains. Moving at quite a slow pace, the unfolding plot of this novel was intriguing rather than gripping.

Read the full review on my site: How comfortable are you with stereotypical characters? This appears to be the question Schlink is asking. The controlling, ambitious artist, who can't let go of his pieces. The enigmatic, beautiful woman, drawn to these men who radiate power, and yet not allowing herself to be possessed. And most stereotypical of all, the love triangle that these people inhabit. It might not matter How comfortable are you with stereotypical characters?

It might not matter, because the book is really about the lawyer, who is asked to draw up a contract that is supposed to resolve this triangle. But he's also a stereotype, as the enigmatic woman announces. It's also about art. Can a painting replace a woman? If a woman will not let herself be owned, can a painting of her be a substitute? Who should art belong to? What happens when the rich own paintings and don't allow them to be displayed? And finally, a musing on capitalism itself, the power that money makes possible, the process of everything becoming buyable.

The lawyer, despite being a stereotype, is a compelling character.