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(IGNM) Masterarbeit Die Rolle von Komponistinnen, Interpretinnen und Musikwissenschafterinnen in der Institution Internationale Gesellschaft für Neue Musik (IGNM) Masterarbeit zur Erlangung des Grades Master of Arts im interuniversitären Masterstudium Musikologie (V066836) vorgelegt von Monika Voithofer (0813113) Universität für Musik und darstellende Kunst Graz Institut 14 Musikästhetik Begutachterin: PDin Dr.in Christa Brüstle Graz, Mai 2015 Abstract In vorliegender Masterarbeit wird die Rolle von Komponistinnen, Interpretinnen und Musikwissenschafterinnen in der Internationalen Gesellschaft für Neue Musik (IGNM) behandelt. Der Beobachtungszeitraum wird von 1922 bis zum Ende der 1960er Jahre mit Fokus auf die österreichische Sektion der IGNM eingegrenzt. Mittels der Methode der Kollektivbiographie werden Handlungsräume und Netzwerke von Akteurinnen im Kontext der österreichischen Sektion der IGNM am Beispiel von Vilma von Webenau, Olga Novakovic, Rita Kurzmann, Sophie-Carmen Eckhardt-Gramatté, Maria Bach, Mary Dickenson-Auner, Lizzy Berner, Ilona Steingruber-Wildgans, Sigrid Wiesmann, Käte Wittlich, Charlotte Zelka, Marie-Thérèse Escribano und Luna Alcalay aufgezeigt. Auf internationaler Ebene finden beispielsweise Ethel Smyth, Nadia Boulanger, Elisabeth Lutyens, Elizabeth Maconchy oder Peggy Glanville-Hicks im Zusammenhang mit der Betrachtung der IGNM-Weltmusikfeste Erwähnung. Neben der großen Bedeutung dieser Frauen in der österreichischen Musikgeschichte wird auf ästhetische und politische Anschauungen der IGNM-Mitglieder eingegangen, um einen genderrelevanten, institutionengeschichtlichen Beitrag für die Internationale Gesellschaft für Neue Musik zu leisten. The aim of this master's thesis was to investigate the role of female composers, musicians and musicologists within the institution of the International Society of Contemporary Music (ISCM). The period under review covers the years between 1922 and the end of the 1960ies and its main focus is the Austrian section of the ISCM. Based on the theoretical framework of 'collective biography', fields of action and network structures of the female agents within the context of the Austrian section of the ISCM are examined. This investigation includes women such as Vilma von Webenau, Olga Novakovic, Rita Kurzmann, Sophie-Carmen Eckhardt-Gramatté, Maria Bach, Mary Dickenson-Auner, Lizzy Berner, Ilona Steingruber-Wildgans, Sigrid Wiesmann, Käte Wittlich, Charlotte Zelka, Marie-Thérèse Escribano and Luna Alcalay. On an international level, the relevance of Ethel Smyth, Nadia Boulanger, Elisabeth Lutyens, Elizabeth Maconchy, Peggy Glanville-Hicks, and in connection with the so-called 'world-music-festivals' hosted by the ISCM is addressed. In addition to the great importance of these women for the musical history of Austria, this thesis also presents 2 aesthetic and political opinions of the members of the ISCM in order to provide a gender-relevant contribution to the institutional history of the ISCM. 3 Vorwort Allen voran möchte ich mich herzlich bei PDin Dr.in Christa Brüstle für die wünschenswerteste Betreuung dieser Masterarbeit durch ihre großartige Hilfestellung in vielerlei Hinsicht bedanken. Auf Initiative der damaligen Vizepräsidentin der österreichischen Sektion der Internationalen Gesellschaft für Neue Musik Dr.in Irene Suchy begann ich im Sommer 2011 mit der Aufarbeitung des Archivs der österreichischen Gesellschaft. In Gesprächen entstand die Idee zum Thema dieser Masterarbeit. Ihr gebührt großer Dank für die stete Unterstützung. An dieser Stelle sei auch dem Vorstand der österreichischen Sektion der IGNM mit dessem Präsidenten Bruno Strobl für sein Vertrauen in meine Arbeit vielmals gedankt. Weiterer großer Dank im Bezug auf die Entstehung dieser Masterarbeit gilt: Marie-Thérèse Escribano, die mir sehr viel ihrer kostbaren Zeit und Erinnerungen schenkte. Der Kunstuniversität Graz für die Ermöglichung meiner Forschungsreise nach Kanada durch die Zuerkennung eines großzügigen Förderungsstipendiums. Den Archives of Manitoba sowie der Eckhardt-Gramatté Foundation in Winnipeg – insbesondere Lynda Hiebert für ihre unglaubliche Hilfestellung während meines Forschungsaufenthaltes. Dem ORF-Hörfunkarchiv für die Möglichkeit der Recherche sowie der Digitalisierung von Quellenmaterial. Dem Musikverein für Steiermark – insbesondere Stefan Kloiber für die Recherche zu Zeitdokumenten. Ming Wang, Bojan Dimov und Elisabeth Kappel für die Zusendung von wertvollem Material und viele hilfreiche Hinweise. Martin Bösch und Carina Steger für ihr Interesse und die unermessliche Geduld beim Lektorieren dieser Masterarbeit. Zuletzt und doch als Erstes möchte ich mich in besonderer Weise bei meiner Familie und meinen Liebsten für ihre bedingungslose Unterstützung in so vielerlei Hinsicht bedanken. Ich darf meinen Weg mit euch gehen, nichts lässt mich dankbarer sein. 4 Inhaltsverzeichnis Einleitung ......................................................................................................................... 6 1. Theorie der Biographie und Historiographie – zur Methodik der Arbeit .......... 10 1.1 Biographie, Musikgeschichte und Gender............................................................ 10 1.2 Zur Methode der Kollektivbiographik .................................................................. 15 1.3 Quellenkommentar, Werkanalyse und Institutionengeschichte ........................... 17 2. Die österreichische Sektion der IGNM 1922-1938 ................................................. 21 2.1 Zum kulturgeschichtlichen Umfeld der Zweiten Wiener Schule ......................... 21 2.1.1 Verein für musikalische Privataufführungen ................................................. 25 2.1.2 Arbeitergesangsvereine ................................................................................. 27 2.1.3 Universal Edition ........................................................................................... 29 2.1.4 Club der Wiener Musikerinnen ..................................................................... 32 2.2 Gründung und Institutionalisierung der IGNM .................................................... 34 2.3 Frauen im Kontext der österreichischen IGNM .................................................... 46 2.3.1 Vilma von Webenau ...................................................................................... 48 2.3.2 Olga Novakovic ............................................................................................. 52 2.3.3 Rita Kurzmann-Leuchter ............................................................................... 55 3. Exkurs: Die Zweite Wiener Schule in der NS-Zeit ................................................ 61 3.1 Sophie-Carmen Eckhardt-Gramatté ..................................................................... 68 4. Die österreichische Sektion der IGNM 1945-1969 ................................................. 72 4.1 Wiederaufbau und Stagnation der Internationalen Gesellschaft für Neue Musik 72 4.1.1 Maria Bach .................................................................................................... 83 4.1.2 Mary Dickenson-Auner ................................................................................. 85 4.2 Die Gesellschaft auf internationaler Ebene .......................................................... 91 4.3 Das Ensemble die reihe im Kontext der IGNM .................................................... 98 4.3.1 Marie-Thérèse Escribano ............................................................................. 104 4.3.2 Luna Alcalay................................................................................................ 109 Resümee ....................................................................................................................... 113 Bibliographie ................................................................................................................ 118 Anhang ......................................................................................................................... 136 5 Einleitung The International Society for Contemporary Musik (ISCM) gilt seit ihrer Gründung im Jahr 1922 als eine der wichtigsten und ältesten international agierenden Institutionen zur Förderung zeitgenössischer Musik. Mit der Intention, unabhängig von ästhetischen, politischen, ethnischen oder religiösen Anschauungen zeitgemäße Musik des 20. und 21. Jahrhunderts zu verbreiten1, haben sich weltweit in mehr als 50 Ländern2 Sektionen der ISCM, französisch Société Internationale pur la Musique Contemporaine (SIMC) und zu Deutsch Internationale Gesellschaft für Neue Musik (IGNM) gebildet. Umso erstaunlicher ist die Tatsache, dass Anton Haefelis im Jahr 1982 veröffentlichte Dissertation zur Geschichte der IGNM3 die, wenngleich auch äußerst verdienstvolle, aber bislang einzige wissenschaftliche Dokumentation dieser wirkungsvollen Institution ist. Konkret auf die Rolle von Frauen in der österreichischen Sektion der IGNM wird nur in einem einzigen, im Jahr 2010 erschienen Artikel4 von Irene Suchy kurz eingegangen. „Auf eine allgemeine Darstellung der Musik des 20. Jahrhunderts musste ebenso verzichtet werden wie auf Analysen von bei IGNM-Festen aufgeführten Kompositionen oder auf biographische Angaben zu deren Schöpfern. [...] Obwohl die IGNM immer nur so stark war, wie ihre einzelnen Mitgliedsektionen es waren, konnte endlich auch nicht auf nationale Musikentwicklungen einerseits und auf die Geschichte(n) der Sektionen selbst eingetreten werden“ 5 , schränkt Haefeli im Vorwort zu seiner Arbeit das
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