Felix Weingartner

He eventually resigned from the opera post while continuing to conduct the symphony concerts, and then settled in Munich, where he incurred the enmity of pundits like Rudolf Louis and Ludwig Thuille.

[2] He was married five times, to Marie Juillerat (in 1891), Baroness Feodora von Dreifus (1903), mezzo-soprano Lucille Marcel (1912; died in 1921), actress Roxo Betty Kalisch (1922),[3] and Carmen Studer (1931).

A sinfonietta, violin concerto, cello concerto, orchestral works, at least five string quartets, quintets for strings and for piano with clarinet and other pieces including a great many Lieder for voice and piano, one of which, "Liebesfeier" (text: Lenau) achieved a status as his most famous short work, in effect a "hit".

His musical style, notably very generous, indeed rather valuable in its rather Schubertian melodic interest, is of its time: an amalgam of late Romanticism and early Modernism, comparable with those of his contemporaries Richard Strauss, Gustav Mahler, Franz Schreker and Alexander Zemlinsky.

His Third Symphony was intended both as a message of love to Lucille Marcel and a reply to the many critical attacks on him in Vienna; the finale reaches a climax in a parody of the waltz from Johann Strauss II's Die Fledermaus.

Similarly, he managed to finish his Fifth Symphony in time for Roxo Betty's birthday, a trend in romantic attachment which may attract at least passing notice, for he was thus a very dedicated bridegroom in his deployment of manuscript paper.

He also made orchestral versions of piano works such as Beethoven's Hammerklavier Sonata, Weber's Invitation to the Dance, and Bizet's Variations chromatiques.

Weingartner was early interested in the occult, astrology, and Eastern mysticism, which influenced his personal philosophy and his music to some extent.