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.
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.
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.
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.
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.