R ising from the ruins of a post-1918 Austria shed of its monarchical leadership and much of its former territory, the Salzburg Festival acquired a symbolic authority during the First Austrian Republic that continues to ensure its privileged place in Austrian politics and culture to this day. At the core of this privileged place are two signature legacies that, while grounded in the festival's prewar history, fortified a particular agenda of the Second Austrian Republic in defining Austrian history and national identity in the decades following World War II. The first, as expressed in 1919 by the festival's most articulate cofounder, Hugo von Hofmannsthal, is that with its Salzburg setting, the festival should be understood as situated in the “heart of the heart of Europe,” a place where the antitheses of Central European geography (German and Slavic, German and Italian), social class (commoner and elite), and aesthetic genre (dramatic theater and opera) encounter one another only to be dissolved through transcendence in an “organic unity.”

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1918 年后的奥地利音乐节使命：维也纳音乐节和萨尔茨堡的长影

萨尔茨堡音乐节起源于 1918 年后的奥地利君主制领导棚和大部分前领土的废墟，在奥地利第一共和国期间获得了象征性的权威，至今仍继续确保其在奥地利政治和文化中的特权地位. 这个享有特权的地方的核心是两个标志性的遗产，虽然植根于该节日的战前历史，但强化了奥地利第二共和国在二战后几十年定义奥地利历史和民族认同的特定议程。首先，正如节日最善于表达的联合创始人雨果·冯·霍夫曼斯塔尔 (Hugo von Hofmannsthal) 在 1919 年所表达的那样，在萨尔茨堡的背景下，音乐节应该被理解为位于“欧洲的心脏地带，