Nausicaa, Sappho and Other Women in Love: Zoltán Kodálys Reception of Greek Antiquity (1906!1932)

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1 RevisitingthePast,RecastingthePresent: TheReceptionofGreekAntiquityinMusic,19thCenturytothePresent.ConferenceProceedings Nausicaa,SapphoandOtherWomeninLove: ZoltánKodálysReceptionofGreekAntiquity(1906!1932) AnnaDalos MusicologicalInstituteoftheResearchCentrefortheHumanities, HungarianAcademyofSciences,Budapest ABSTRACT:ZoltánKodályshowedagreatinterestinGreekantiquitythroughouthislife.Notonlydid hestudytheancientgreeklanguagethoroughlyandreaduponthedifferenteditionsofhomer siliad andodyssey,buthehadalsobeenplanninganoperaaboutthelatterfiguresince1906.onlyonesong survivedfromthisoperaplan,!nausikaa,writtenin1907toapoembykodály sformersecretlover, Aranka Bálint. It was published only in 1925, at a time when Kodály, stimulated by the Hungarian writer Zsigmond Móricz and his new dramaodüsszeuszbolyongásai (The Wanderings of Odysseus, 1924),turnedhimselftowardstheOdysseusthemeagain.Thoughheabandonedthenewplanofthe operasoon,hisdesiretowritemusicforthestageprovedtobelasting.hefinishedhissingspielháry János in 1926, and his lyrical play,székelyfonó (The Transylvanian SpinningRoom) in Even contemporary critics recognised the similarity between the figures of the adventurer Háry and Odysseus,andtheyreferredtoKodály spossibleidentificationwiththetwoheroes.arecentstudy investigatedtheroleoftheyoungmaninthetransylvanianspinningroomfromthesamepointof view. Mypaper,however,examiningKodály ssongsfromhisfirstmatureperiod(1906"1923),firstofall!nausikaa and!sapphoszerelmeséneke (Sappho slovesong,1915),aswellastheseriesofmagyar népzene (Hungarian Folk Music, 1924"1932), and the two plays for stage from the second period (1923"1945),scrutinisestheroleofthewomeninloveinKodály s uvre.kodály ssongsintroduce womenwhoarelovelornandforthisreasonfeeldefenceless.thesefemaleportraitsareconnectedto onecharacteristic musicalfeature,theuseofpentatony.pentatonysymboliseshereforkodálynot!hungarianness,asusual,butthearchaismoftheancientmusicandculture,ontheonehand,and women slonging,ontheother. TheyoungZoltánKodálywasfascinatedbythefigureofthePhaiakianprincessNausicaa. Nevertheless,hewroteonlyonecompositiononthistheme,thesong!Nausikaa,completed on 6 July It was based on a poem written by Kodály s girlfriend of youth, Aranka Bálint. 1 He probably planned to compose an orchestral piece with the title!nausikaa as well, which would have been the counterpart ofnyárieste (Summer Evening) finished in He must have considered composing two other orchestral pictures,nausikaa and Circe,sometimebetween1916and1919,afactweonlyknowfromreferencesinKodály s 1 ArankaBálintrefusedtohavehernameprintedastheauthorofthepoemintheeditionof!Nausikaa later. ShealsowantedtoremainanonymouswhenshehandedovertoBenceSzabolcsisomeKodálymanuscripts fromherownproperty.benceszabolcsi,!háromismeretlenkodálydalról (OnThreeUnknownKodálySongs), Muzsika,13/8(August1970),1"3. 2 TiborTallián,!KodályZoltánkalandozásaiIthakátulaSzékelyföldig (ZoltánKodály sadventuresfromithaka totheszékelys),magyarzene,56/3(august2008),

2 RevisitingthePast,RecastingthePresent: TheReceptionofGreekAntiquityinMusic,19thCenturytothePresent.ConferenceProceedings notebook. 3 Inaddition,in1924thecomposerwasaskedbytheHungarianwriter,Zsigmond Móricz ( ) to write an opera based on his threeact drama, Odüsszeusz bolyongásai (The Wanderings of Odysseus). 4 The three acts presented three women in Odysseus life: Nausicaa, Circe, and Penelope. Though the subject gave Kodály an opportunitytorealisehisdreamofcomposinganoperarelatedtoancientgreece,hedid notsettheplaytomusic.allweknowisthathewantedtoinserttheoldsong!nausikaa in the first act. 5 Researchers of the composer s life emphasised from the beginning the importance of the figures of Odysseus and the three women in love for Kodály. Bence Szabolcsi suggested as early as 1926 that the hero in Kodály s 1926 completed Singspiel HáryJános " himself an adventurer, a kind of Hungarian Odysseus " was the composer s spitting image. 6 Recently, Tibor Tallián pointed out that the Lover, another Hungarian OdysseusinTheTransylvanianSpinningRoom,Kodály slyricplaycompletedin1932,might bekodály sequivalentaswell. 7 Kodály sidentificationwithodysseusmadetalliánsearchforthesourcesofthefemale figures.heassociatedpenelopewithkodály sfirstwife,emma;moreover,hearguedthat thechieffemalecharactersinkodály sstageworks,örzseinháryandthehousewifeinthe TransylvanianSpinningRoom were Emma s counterparts. 8 It speaks for itself that Kodály dedicatedháryjánostohiswifewiththewords:!tomyörzse.asnoloveaffairsinkodály s life are known after their marriage in 1910, the models of Nausicaa and Circe must be sought in an earlier stage of Kodály s life. Tallián is right to refer to the emotionally turbulent times around composing the song!nausikaa, 1906"1907, when Kodály had to choosefromthreewomen,emma,aranka,andthegermanactress,evamartersteig. 9 The situationprovedtobesotraumaticfortheyoungcomposerthatseventeenyearslaterhe wasstillinclinedtocomposeanoperafrommóricz seroticdramafocusingonmen srightto sexualsatisfactionandinfidelity. 10 DuringhisBerlinjourneyof1906"1907Kodálykeptadiary,whichhelpsusreconstruct theeventsleadingtothetraumaticexperiencesandhisfinaldecisiontochooseemma. 11 TheothersourceofinformationonthisperiodisthediaryofBélaBalázs, 12 Kodály sclosest friend at the time, who later became the librettist of Bartók sakékszakállúhercegvára (Bluebeard scastle,1911)andafábólfaragottkirányfi(thewoodenprince, ). Forthatmatter,itmusthavebeentheideaoftheextrovertBalázstobringthereserved 3 Ibid ZsigmondMóricz,DrámákII(DramasII)(Budapest:Szépirodalmi,1980), Tallián,!Kodály..., Bence Szabolcsi,!Háry János, inkodályrólésbartókról (On Kodály and Bartók) (Budapest: Zenemkiadó, 1987),64"70. 7 Tallián,!Kodály...,240" Ibid.244" Ibid Ibid.242" LajosVargyas(ed.),KodályZoltán:Közélet,vallomások,zeneélet.Hátrahagyottírások(KodályZoltán:Public Life,Confessions,MusicLife.PosthumousWritings)(Budapest:Szépirodalmi,1989),119" BélaBalázs,NaplóI.1903!1914(DiariesI.1903"1914)(Budapest:Magvet,1982). 266

3 RevisitingthePast,RecastingthePresent: TheReceptionofGreekAntiquityinMusic,19thCenturytothePresent.ConferenceProceedings Kodálytowriteadiary.ForBalázsthegenreofdiarywasapeculiarformofpublic"not private"literatureinwhichtheyoungandsensitiveartistcanformulatehisideasonlife, philosophy,friendshipandlove,particularlyhisthoughtsonfriendshipwithkodályandhis loveforarankabálint.inadditiontoarankaandkodály,balázs sclosestcircleoffriendsalso included a second woman, Paula Hermann. All of them not only read the diary but expressed their opinion in letters andconversations as well. 13 Kodály s entries in his own diaryandhistraveldiarywrittensomemonthsafterhisberlinandparistripwiththetitle VoyageenHongrie 14 reflectunambiguouslytheinfluenceofbalázs sstyleandattitude. The central topic of their diaries was love: man s and, in connection with it, woman s love.bothofthemdescribedberlinasanerotictownwherethepracticeoffreeloveraised noethicalquestionsasithadnothingtodowithfeelings. 15 Kodály,wholookedforthe!true one,asbalázsputit, 16 musthavesufferedfromthisattitude,particularlywhenobliviousof his unclarified feelings for Emma and Aranka for a while, he fell in love with the Eva, portrayedbybalázsasacirce. 17 ShegaveherselftoKodálybutrefrainedfromallromantic feelings(!nurkeinesehnsuchthaben,bitte (Please,don tyearn)"asshetoldkodály). 18 In hisdiaryentrydated12march1907kodálytriedtodescribeherpersonalitybutfeltdifficult tofindtheproperwords,asthefragmentarywordingreveals: Hogyjárkel,mintegyvízió[...].!Sokultiviert alegkisebbmozdulata[...].talána!zurnatur gewordenekultur vonzbenne.!schrecktdichdas? kérdezte,mikorelmondta,hogylesbosi hajlandósága van. [...] svonások benne. Mint az ultramodern szimfóniák agyonbogozott szálai közt egyegy primitív melódia. [...] (A spirális fejldés: a kultúra tetpontjainak érintkezéseaprimitívséggel). 19 Shewalksaroundlikeavision[...].Hermovingis!sokultiviert (socultivated)[...].maybeher!zurnaturgewordenekultur (culturethatbecamehernature)attractsme[...]!schrecktdich das? (Doesn t it frighten you?), she asked me when she told me that she had a lesbian inclinationtoo.[...]therearealsosomeancientfeaturesinher.likesomeprimitivemelodies intheconfusedlinesofultramodernsymphonies.[...](thespiralevolution:whenthepeakof aculturecommunicateswiththeprimitive). ItisevidentthatEvarepresentedforKodályahigh,sophisticatedculturewhichdoesnot reject its own ancient, primitive characteristics either. In his eyes she was a mixture of nature and refinement, archaism and modernity " a combination that was to become 13 Ibid.286,308, ZoltánKodály,VoyageenHongrie(Budapest:Múzsák,n.d.). 15 Balázs,Napló,362363,403.SeealsoKodály slettertoemma(22december1906)indezslegány(ed.), KodályZoltánlevelei(ZoltánKodály sletters)(budapest:zenemkiadó,1982), Balázs,Napló, Ibid Vargyas,Kodály,132" Ibid. 267

4 RevisitingthePast,RecastingthePresent: TheReceptionofGreekAntiquityinMusic,19thCenturytothePresent.ConferenceProceedings Kodály smainidealsomeyearslaterwhenitcametocreatingmodernhungarianmusic. 20 On the other hand, Emma and Aranka represented other ways of life as he had tried to formulateitsomemonthsbefore: EmmaésArankaköztikülönbség:mikorArankátmegkérdeztem,hogytetszettaCamenzind:!Hessetanítványésnemisalegjobb.Eztkezdtemondani.Emmapedig?nemisemlékszem, mit mondott. Aranka a reflexió, az utánagondolt gondolatok embere. Emme maga az stermészet.[...]nyelvalakítóképességekicsiny,azértöltöztetoezeketmegtanultformákba. Csakhamögélátazemberennekanyelvnek,úgylátjameg.[...]képtelenvolnaidegen gondolatot úgy!átsajátítani és beilleszteni magába, mint Aranka. Mindig emlékszik, kitl tanulta ezt vagy azt. Ezért sokat idéz, néha egészen közönséges emberek közönséges mondásait.[...]igaz:egyikok:arankafiatalabb,nemolyanlezárt. 21 ThedifferencebetweenEmmaandAranka:WhenIaskedArankaifshelikedCamenzind,she beganbysaying:!hesseisonlyafollower,andnoteventhebest. AndEmma?Idon teven remember what she answered. Aranka is a person of reflections, she weighs carefully all ideas.emma,however,isancientnatureherself.[...]herlanguagefacilityislimited;thisis whyshedresses[herthoughts]inlearnedformulas.ifyoudisregardthislanguage,youwill understand[her].[...]shewouldbeunabletoadoptforeignopinionslikearankadoes.she always remembers whom she learned something from. As a result, she quotes much, sometimes absolutely ordinary thoughts from ordinary people. [...] Aranka is, to be true, muchyounger,sheisn tmatureyet. While Aranka s maincharacteristics include reflexivity, receptivity, and immaturity, Emma figures in his entry as the embodiment of!ancient nature. Furthermore, Kodály s descriptionofemmastrikinglyresemblesthewayfolkmusicworks:peasantsongs"words and melodies alike " are based on learned formulas that vary slightly at each new performance. The twentythreeyearold Kodály, who wrote his doctoral thesis on the strophic structure of Hungarian folksongs in 1906, points to this feature of folksongs. 22 Moreover, peasants remember clearly who they learned the songs from: it is one of the mostimportantinformationthecollectorhastoask. 23 Kodálymentionedthispracticewhen he published the series Magyar népzene (Hungarian Folk Music) from 1924 on, and indicatedwhohehadlearnedthegivensongfrom.soitissmallwonderthatörzseandthe Housewife, both Emma s counterparts in Kodály s stage works, sing, that means: they alwaysquotefolksongstoexpresstheirfeelings. Kodály sdiaryentriesdescribethreebasictypesofwomen.itis,however,muchmore important to consider how Kodály discusses women in general. He is affected by these 20 Zoltán Kodály,!Tizenhárom fiatal zeneszerz (Thirteen Young Composers) in Ferenc Bónis (ed.), VisszatekintésII.KodályZoltánösszegyjtöttírásai,beszédei,nyilatkozatai (In retrospect II. Zoltán Kodály s CollectedWritings,Speeches,Declarations)(Budapest:Zenemkiadó,1974), Vargyas,Kodály, ZoltánKodály,!Amagyarnépdalstrófaszerkezete (TheStrophicStructureofHungarianFolkSong),inBónis (ed.),visszatekintés,22" BélaBartók,Miértéshogyangyjtsünknépzenét?Azeneifolkloretörvénykönyve(WhyandHowtoCollect Folk Music?) (Budapest: Somló, 1936), 15. Modern edition: András Szllsy (ed.),bartókbélaösszegyjtött írásaii(bélabartók scollectedwritingsi)(budapest:zenemkiadó,1966),

5 RevisitingthePast,RecastingthePresent: TheReceptionofGreekAntiquityinMusic,19thCenturytothePresent.ConferenceProceedings womenbuttriestospeakaboutthemwithakindofscientificobjectivity.womenrepresent forhimotherness,astrangephenomenonfullofmysteriestobesolved.womenappear thereasobjectstobeexamined.ashisvoyageenhongriereveals,theyoungkodálygrew attractedtopeasantwomen,andtheexperiencesgatheredintheenvironmentofpeasants made him realise that women and the relationship between men and women played an equallycrucialpartinthepeasant sworldastheydidinmodernsociety.hewasparticularly sensitivetowomenwhoremainedalone. 24 Among his fortyone art songs, written between 1906 and 1926, there are, however, onlytwoexpresslywomen ssongs,theabovementioned!nausikaa,and!sapphoszerelmes éneke (Sappho s Love Song) from In an additional song entitled!haja, haja (Alas, Alas),thefirststropheiswrittenforaman,thesecondforawoman,whilethreefurther songscanbesungbymenandwomenalike.theproportionofmen stowomen ssongsin Kodály sserieshungarianfolkmusicismuchmorebalancedthanamonghisartsongs:the sixtytwofolksongsofthecollectioncomprisetwentythreewomen sandtwentysixmen s songs,fivesongsfortwoperformers(amanandawoman)andeightonesthatcanbesung by men and women alike. While women s songs focus mostly on women s love and loneliness,men ssongsconcentratemuchmoreontherealitiesofeverydaylife:theyare drinkingsongs,soldiers songsorsatiricalsongs.mensingofloveonlyinexceptionalcases. Thenumeroussoldiers songsandwomen ssongsaboutlonelinessanddespairsuggestthat fieldwork during World War I stirred again Kodály s interest in the relationship between menandwomen. Kodály sartsongsandfolksongarrangementsdonotformtraditionalsongcyclesinthe sequence they appeared in print (Table 1). The grouping of the songs is often surprising, indeed, particularly if we examine the dates of the pieces. Three early songs written to poems by Balázs, the cycle Énekszó: dalok népi versekre (Sixteen Songs on Hungarian PopularWords)Op.1( ),andthreeofthe1924published Négydal(FourSongs) were composed between 1906 and These songs constitute a thematically homogeneousgroupofworksconnectedtoeventsinthelifeofthecirclearoundbalázsand Kodály.Whatismore,thecomposer sop.1,whichisbasedonfolktexts,isakindofmusical diary,themusicalcounterparttobalázs sdiary,inwhichayoungmannarratesthestoryof finding the!true one. The format and the makeup of the first edition suggest unambiguouslyadiary.inthetextstherearedirectreferencestokodály slife.forexample, thefirstsongrelatesasituationinwhichayoungmanhastochoosefromthreewomen.on the other hand, the thirteenth song reminds the listener of an event when a young man introduceshislovedonetohisbestfriend,andthenthetwofallinlovewitheachother.the sameincidentisdescribedinbalázs sdiary:hehadtowitnesshowkodályandhisbeloved Arankafellforeachother Kodály,VoyageenHongrie. 25 Balázs,Napló,319"

6 RevisitingthePast,RecastingthePresent: TheReceptionofGreekAntiquityinMusic,19thCenturytothePresent.ConferenceProceedings HáromdalBalázsBélaverseire(ThreeSongson poemsbybélabalázs),op.posth., Négydal(FourSongs)(publishedin1924),13: 1907,4: !Haja,haja (Alas,Alas)(JánosArany) 2. "Nausikaa(ArankaBálint) 3.!Mezeidal (MeadowSong)(Aranka Bálint) 4.!Fájaszívem (MyHeartAches) (ZsigmondMóricz) Énekszó:daloknépiversekre (Sixteen Songson HungarianPopularWords)Op.1, Kétének(TwoSongs),Op.5,poemsbyDániel Berzsenyi,EndreAdy, Megkésettmelódiák(BelatedMelodies),Op.6, poemsbydánielberzsenyi(14),ferenckölcsey (56),MihályCsokonaiVitéz(7), Ötdal(FiveSongs),Op.9, !Ádám,holvagy (Adam,Whereare You?)(EndreAdy) 2. "Sapphoszerelmeséneke(Sapphos LoveSong)(EndreAdy) 3. Éjjel!(Night)(BélaBalázs) 4. Kicsivirágom!(MyLittleFlower)(Béla Balázs) 5. Azerd!(TheForest)(BélaBalázs) Foraman Foramanandawoman Forawoman Foramanorawoman Foramanorawoman Foraman Foraman Foraman Foraman Forawoman Foraman Foramanorawoman Foraman Háromének (ThreeSongs),Op.14,poemsby Foraman BálintBalassi(1),anonymousseventeenth centurypoet(23), Table1.Kodály!ssongcycleswrittenbetween1906and1926 WhilemostsongscomposedatthetimebelongthematicallytoKodály!smusicaldiary, Nausikaa!doesnotfitintothisgroup,eventhoughitwaswrittenbyAranka.Allothersong texts of these years are either reflections of the style of Hungarian folksongs or actually authenticfolktexts.bycontrast,thepoemnausikaahasnothingtodowithhungarianfolk style.thesourceofthesimplicityofkodály!ssettingliesinthesimplicityofthepoem.the 26 Thedates mentionedin:LászlóEsze,MícheálHoulahan,andPhilipTacka, Kodály,Zoltán!,in StanleySadieandJohnTyrrell(eds.),TheNewGroveDictionaryofMusicandMusicians,xiii(2ndedn.,London: MacMillan,2001),724areincorrect.Kodálywrotep.14between1918and1924,andheorchestratedthese songs in See Anna Dalos, Zoltán Kodály!, in Ludwig Finscher (ed.), Die Musik in Geschichte und Gegenwart.Personenteil,x(Kassel:Bärenreiter,2004),

7 RevisitingthePast,RecastingthePresent: TheReceptionofGreekAntiquityinMusic,19thCenturytothePresent.ConferenceProceedings secondandthirdstrophesrepeatthemelodyofthefirstone,whereastheaccompaniment isvaried.ascharacteristicofkodály,thepianotransmitsthefeelingsofnausicaa.themusic is almost without chromaticism; Nausicaa sings a diatonic melody coloured by slight referencestopentatony(example1a).thesongbegins,however,withapentatonicmotto inthepiano.achromaticlineonlyappearsinthepianoatthemomentwhennausicaaloses her selfdiscipline on the mentioning of Odysseus!s Ithaca in the third strophe. The chromaticism of Odysseus!s memory upsets Nausicaa!s diatonicpentatonic balance (Example1b). Example1a.PentatonicmottoinKodály!s Nausikaa! Example1b.ChromaticisminKodály!s Nausikaa!,thebeginningofthethirdstrophe,bb.15 Theappearanceofthepentatonicscaleinthepianopart,whichcanbethesymbolof theinnocenceandinstinctivelyradiatingsensualityofnausicaa(andperhapsaranka)is,in fact,rareamongkodály!sartsongsinspiteofthefactthatthediscoveryofthepentatonic scaleinhungarianfolkmusicaround1907wasarevelationforbothbartókandkodály,asit poweredtheconnectionbetweenancientmusicculturesandhungarianfolkmusic. 27 The same pentatonic motto appears surprisingly in Kodály!s 1917 setting of Endre Ady!s free formulationof Sappho!sLoveSong!(survivingoriginallyinCatullus!Latintranslation)asifit wereaquotationfrom Nausikaa!.Therearealsootherpointslinking Sappho!sLoveSong! 27 ZoltánKodály, Ötfokúhangsoramagyarnépzenében!(FivetoneScaleinHungarianFolkMusic),inBónis (ed.),visszatekintés,

8 RevisitingthePast,RecastingthePresent: TheReceptionofGreekAntiquityinMusic,19thCenturytothePresent.ConferenceProceedings with Nausikaa!. Kodály included the former in the cyclefivesongs, which contains " in additiontoanotheradysetting Ádám,holvagy?!(Adam,WhereareYou?)"themusical settingofbalázs!sthreepoemsaswell:theirpartiallyfolkstyleremindsusofthesongsof Moreover,theuniquechoiceoftheextremelypassionateanderoticpoemof theancientgreekpoetess"whoissaidtohavehada lesbianinclination!,askodályputit when describing Eva Martersteig, the Circe of his life " is an eloquent proof of Kodály!s renewedinterestinhisartisticphaseoftenyearsearlieranditscentralsubject:love. This is why Sappho!s Love Song! can be interpreted as Eva!s musical portrait. The pentatonicmottoishiddenamongthestrophes.thefirststrophebeginsandendswiththe pentatonic formula (Example 2a), that returns at the beginning of the second strophe " althoughthisstropheendswithitsmistunedversion"aswellasinthethirdstrophe.there thepentatonicformulamaybethesymbolofthe ancient!,the primitive!thatappearsat the peak of a highlysophisticated culture, as Kodály wrote about Eva!s personality. Nevertheless, Sappho!sLoveSong!isfullofdissonances;pentatonyisonlyonelayerofthe complexmusicaltexturecharacterisingthesetting.byrecallingtheeffectofpluckingand arpeggios, the piano refers to the tone of the ancient kithara. But the instrument is subordinatedtosappho!semotionsasifsapphoaccompaniedherself.theaccompaniment changesrightatthemomentwhensappho"justlikenausicaa"losesthebalanceofher earlier state of mind by realising that she is lost. At this point Sappho, whosekithara normallyplaysinakeywithsixflats,eventhoughitisfullofchromaticism,sinksintoan unorganisedworldwithoutsignatures(example2b).theregulartoneofsappho!skithara onlyreturnsattheendofthesong. Sappho!sancientGreecemusthaveactedforKodályastheparadigmofasophisticated culture. 28 Ancient Greece appears in this context as an unattainable ideal, the Other, the objectofone!sdesire.theothernessofancientgreeceisforkodályundoubtedlyaparallel to women!s mysterious Otherness. Kodály!s musical description of Sappho!s erotic and Nausicaa!s innocent, yet definitely sensual love shows clearly that women rarely had the opportunity to express their feelings in the composer!s uvre outside EmmaPenelope!s world,gracedsoemphaticallywithhungariantones.iftheywantedtoexpressthemselves, theyhadtomanifestthemselvesingreek. Example2a.PentatonicformulainKodály!s Sappho!sLoveSong! 28 SeeFerencBónis!sstudy: Székelyfonó:avagyKodályHoméroszútján!(TheTransylvanianSpinningRoom:or KodályonHomer!sWay)Hitel,15/12(December2002),

9 RevisitingthePast,RecastingthePresent: TheReceptionofGreekAntiquityinMusic,19thCenturytothePresent.ConferenceProceedings Example2b.UnorganisedworldwithoutakeysignatureinKodály!s Sappho!sLoveSong!,bb.2526 ( WithkindpermissionbyUNIVERSALEDITIONA.G.,Wien/UE7509) 273