„Befreite Klänge“
Friedrich Gulda Exhibition in the Museum of Musical Instruments at Schloss Kremsegg

In 2003, Schloss Kremsegg opened a special exhibition on Friedrich Gulda in its Museum of Musical Instruments. In the meantime, it has become a permanent feature of the museum.
The Museum’s precise reasons for dedicating the exhibition, and thereby creating a place of commemoration, to this musical citizen of the world in the Province of Upper Austria, were his links with the region. Friedrich Gulda had a house in Weißenbach am Attersee, where he died on 27 January 2000. His performances at the Brucknerhaus in Linz were, even in his own opinion, amongst his most legendary.
Schloss Kremsegg’s Museum of Musical Instruments, its international prestige largely owing to its collection of wind instruments and pianos, made contact with the Gulda family and Gulda’s partner, Ursula Anders, with whom close cooperation has developed regarding the supervision and conservation of Friedrich Gulda’s legacy.
The opening of the exhibition took place on 15 June 2003.
The exhibition was unveiled by Dr Josef Pühringer, governor of Upper Austria. Paul Gulda played some of his father’s works and those of his preferred composer, W. A. Mozart.

In keeping with the collection at Schloss Kremsegg, Friedrich Gulda’s original instruments can be viewed. Further emphasis is placed on his discography and his private residence on Attersee in Upper Austria.
The design reflects his inspired career through his private objects. The above-mentioned instruments and numerous audio examples of his works attest to his lifelong musical development.
The exhibition makes Gulda’s musical path through the 20th century both comprehensible and audible.
Thanks to the design, the subject-matter ’Gulda’ unfolds in one single large room.

Audio booths enable visitors to put together their own ‘Best of’ selection from the comprehensive oeuvre of the musician and composer. Video extracts show Friedrich Gulda as a classical pianist and inspired jazz musician, as well as a stage performer who was eager to experiment. At the same time, his music floods the room, thereby perfecting the exhibition.
The design concept allows visitors time to make their own impression of Friedrich Gulda and/or arrive at a personal understanding of the man through the variation of quotes, personal notes, photos and examples of his music.
Gulda’s biography reminds many visitors of their own development through the 20th century. From the immediate post-war period to the freer seventies and then back again to the roots, which nobody can or will deny.

A reconstruction of Gulda’s cellar in Weißenbach, in which he used to compose, forms the central point in the design concept. This simple and private place of refuge and retreat, which every individual needs, artists perhaps more than most, stands surrounded by the indications of the mark Friedrich Gulda left on the big wide world.

At Schloss Kremsegg, the motto “Befreite Klänge“ (or “Released Sounds” has a dual meaning. It refers not only to the explosive power of Gulda’s musical personality, but also to his skill and ability to play various musical instruments. He played piano with a musical voice as unique and unmistakable as when he played the clavichord. He practised on wind instruments with bulldog-like tenacity – as he said himself – until his command of the saxophone and flute was every bit as masterful. His singing voice, the most natural of all instruments, was embodied in the figure of Albert Golowin.