Contemporary Music

Home , Donaueschingen Festival, Ensemble recherche, Neue Musik

Stefan Fricke

CONTEMPORARY MUSIC

In German Music Council / German Music Information Centre, ed., Musical Life in Germany (Bonn, 2019), pp. 328–349

Published in print: December 2019 © German Music Information Centre http://www.miz.org/musical-life-in-germany.html https://themen.miz.org/musical-life-in-germany Kapitel |

Contemporary musiC

12 Never in the past 100 years has so much contempo rary music reached the public as it does today, and never have there been so many ensembles specialising in this area. Here Stefan Fricke discusses the training for, as well as the funding and presentation of, this music.

A percussion workshop at the Darmstadt Holiday Courses, 2012 328 329 Contemporary Music |

| Stefan Fricke ted phenomena often lie in an intermediate realm between the visual arts and art music. They can take the form of resonant spaces or resonating objects; they can also toy aesthetically with the manifold technical possibilities of new media CONTEMPORARY MUSIC and cross traditional boundaries between art forms. These modes of expression are likewise often classified as contemporary music and presented as such at the standard festivals and in trade journals. The same applies to improvised music, The infrastructure of contemporary music in Germany is remarkable for its di- which vacillates between established jazz and the ‘serious’ avant-garde, and to versity. The very number of German synonyms for the ‘serious’ music of the last so-called new music theatre, which has parted company with narrative opera 100 years, as well as its performance and publication, suffices to convey an initial and drawn a large following since the 1990s. In short, contemporary music is nei- impression: contemporary music, music of the 20th and 21st centuries, modernist ther a stable and sharply defined concept, nor does it point to a precisely demar- music, musical modernism, music of our time, present-day music, avant-garde cated aesthetic terrain. Rather, it designates a remarkably broad and varied range music, new music, New Music, newest music: all these and many more have their of acoustical creations, both of today and of recent decades, as well as a multi- current German equivalents. The wide range of terms, most of them coined by layered, open-ended and increasingly inclusive scene that has thrived chiefly on journalists or concert organisers, has been augmented over the years by more in- the spirit of ‘serious’ music – until now, at any rate. For the boundaries separating clusive concepts such as sound art (Klangkunst), audio-visual art, performance art, contemporary art music from established forms of popular music and jazz, which audio art, radiophonic music, ars acustica and music on the Web. The associa- are evolving at an even more dizzying pace, and conversely those separating pop u - lar music from contemporary art music, are becoming increasingly blurred. The former lines of demarcation are rapidly vanishing, so that the spectrum of what can be termed ‘contemporary music’ will expand to embrace a large and diverse terrain of musical creation.

The steadily growing multiplicity in contemporary music is a striking feature of our times, and one that should be seen in a positive light. Never in the past 100 years has so much contemporary music reached the public as it does today, and never have there been so many specialist ensembles. These developments, however, which have been particularly dynamic since the 1980s, go hand in hand with a sharply growing need for funds to ﬁnance concerts and projects. For contemporary music, like every other form of ‘serious’ music through the ages, stands in need of material support from society. Yet the cutbacks in cultural funding (or stagnating budgets with growing inﬂation), some of which have lasted for years, can limit the further evolution of contemporary music as a live experience. At least a number of municipalities and federal states have raised An open-house festival (left) and the their previous subsidisation in this area in response to the ‘New Music Net- dance event ‘Floor on Fire – Battle of Styles’ (right) at Hellerau, European work’ project (Netzwerk Neue Musik) initiated by the Federal Cultural Founda- Centre of the Arts in Dresden tion from 2007 to 2011. Similarly, in 2016 the federal government established

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The programme of the Donaueschingen Festival consists largely of world premières. The 2017 Festival featured 20 new works along with lectures, performance events and sound installations.

Founded in 1921, the Donaueschingen Festival is the oldest contemporary music festival in the world. CONCERT AND FESTIVAL LANDSCAPE

Public radio another subsidisation tool for contemporary Klangkunst at the initiative of the Federal Government Commissioner for Culture and the Media, with a current en- Germany’s publicly funded broadcasting companies, virtually every one of which dowment of some €2 million. Moreover, for several years a growing number of has a separate department for new music, are a driving force behind the great private and public foundations have taken up the cause of contemporary music. diversity of Germany’s contemporary music, whether in its creation, distribution Yet the public broadcasting companies, until now the reliable bastions of funding or propagation. Here a major role is played by the broadcasters’ own musical for- for Germany’s contemporary music, have considerably reduced their commit- mations (orchestras, choruses and in some cases big bands), some of which are ment compared to 20 or 30 years ago, particularly as regards the funding of their deeply committed to the music of our time. In addition, since 1971 South-western own events. Broadcasting Corporation (Südwestdeutscher Rundfunk, or SWR) in Freiburg has operated its own Exper imental Studio, developing and implementing (live) elec- In sum, the present state of Germany’s contemporary music is ambivalent. On the tronic works under laboratory conditions in a co-operative effort between com- one hand, there is a steadily growing number of composers, performers, musicolo- posers and studio engineers. The annual Donaueschingen Festival, founded in 1921, gists, producers and journalists in this area, not to mention a constantly expanding is not only the world’s oldest festival of contemporary music, but one of the most audience with a keen interest in present-day forms of musical expression and a prestigious in the world. Since the early 1950s it has been supported mainly by readiness to engage with them at a high level. On the other hand, this upsurge in the SWR in co-operation with the city of Donaueschingen and other partners. An- artistic creation and reception is often hamstrung by shortages of funds. other major festival, the Witten Days of New Chamber Music, has been held since 1969 by Western Broadcasting Corporation (Westdeutscher Rundfunk, or WDR) in conjunction with the city of Witten. Germany’s other public broadcasters have

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festivals and concert series of their own, such as the Ultraschall Festival in Berlin, William Kentridge’s The Head and mounted jointly by Deutschlandfunk Kultur and Radio Berlin-Brandenburg (rbb) the Load at the Ruhr Triennale, 2018 since 1998, or ‘cresc…’, a biannual festival of mod ern music held in the Rhine-Main region since 2011. Initiated and permanently funded by the Frankfurt RheinMain Cultural Fund, cresc… is mounted by Ensemble Modern and the Frankfurt Radio Symphony together with other partners from the region. The orchestras of other public broadcasters have made long-term commitments to contemporary music in their own concert series, as in Bavarian Radio’s Musica Viva series (since 1948) or West German Radio’s ‘Musik der Zeit’ (Music of our Time, since 1951), both of which feature premières of newly commissioned works.

Equally central to Germany’s contemporary music landscape are its music broadcasts, which follow a cultural and educational policy and provide a very wide range of information on contemporary music several times a week. Some of the broadcasters’ contemporary music departments have developed and launched their own series of broadcasts, setting programming and educational standards for the dis- semination of contemporary music and reaching impressively large and diverse Poised at the institutional crossroads of creation and distribution of their own audiences. contemporary music projects (including information and publication), Germany’s public broadcasters have proved to be among the sturdiest infrastructural pillars on the new music scene. Given their additional programming of projects from FACTS & FIGURES other sources (live concert recordings, productions with freelance ensembles, newly commissioned works including electronic music and radio plays, essays and re- Where can contemporary music be heard in Germany, ports by freelance writers), it is impossible to overstate their importance, at least and what are its underlying structures? in the ﬁeld of radio. In contrast, the amount of contemporary music shown on their television programmes is almost nil. Several radio companies have increased the The German Music Information Centre presents systematic amount of broadcast time for contemporary music while others have cut it back. In facts and ﬁgures in its ‘New Music’ portal, providing access to: any event, there is much less contemporary music to be heard in day-time broadcasting compared to a few years ago. >> Specialist ensembles and festivals >> Archives and research facilities Municipalities, states, federal government >> Competitions, scholarships and prizes with current invitations to apply Almost every major German city, as well as many smaller cities and communities, >> Professional associations and societies has highly regarded festivals, concert series and/or initiatives for contemporary >> Foundations and other promotional institutions music. Indeed, their number has even increased rather than decreased since the 1980s. More than 100 such activities can be found in a very wide range of towns

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and cities. Some are short-lived; others have existed for years and become institu- to a single benefactor or association and frequently have a hard time making ends tions in their own right. Still other large-scale events, such as Berlin’s two Klang- meet. Nonetheless, there have been some instances of stabilised or newly founded kunst retrospectives of 1996 and 2006 under the title ‘sonambiente’, or Sound Art festivals. One is MaerzMusik (known since 2014 as a ‘Festival for Current Issues’), in Karlsruhe’s Centre for Art and Media (ZKM, 2012-13), focused exclusively on which is funded by the federal government and has been mounted in Berlin since expanded concepts of music and art, thereby transcending the bounds of normal 2002 as part of the Berlin Festival. Another is mikromusik, a festival of experimen- festival operations. Sometimes contemporary music is integrated in community tal music and sound art organised since 2014 by the Berlin chapter of the German festivals, music festivals or concert series, where it forms a programming highlight Academic Exchange Service (Deutscher Akademischer Austauschdienst, or DAAD) alongside other forms of music, as at the International Beethoven Festival in Bonn. as a successor to Inventionen (founded in 1982). The Eight Bridges Festival in Cologne, founded in 2011 to supersede the Cologne Musiktriennale with its mixed Music festivals with a regional slant, some of which are for the most part privately programmes, places an emphasis on contemporary music and provides a natural funded (Schleswig-Holstein Music Festival, Rheingau Music Festival), often place platform for local composers, performers and sound artists. This temporary coales- contemporary music on their programmes, sometimes with brand-new creations cence of established institutions (Cologne Philharmonie) and the independent standing side by side with earlier music. The same applies to the Berlin Festival or scene should function as a model for other municipalities. thematic projects such as the Ruhr Piano Festival. The same can be said of several interdisciplinary events where contemporary music forms a central item along- Orchestras, independent ensembles, music theatre side other artworks of our time. These hybrid concepts are relatively well-funded and have their own infrastructures. In contrast, festivals that focus entirely on con- Besides the ensembles associated with public broadcasters, Germany’s other pub- temporary music in a wide range of towns and cities usually owe their existence licly funded orchestras also present contemporary music in varying doses. Some of these orchestras have a ﬁrm commitment to contemporary music, others less so or only rarely. Far more than 90 per cent of Germany’s (world) premières of contem- Brigitta Muntendorf’s iScreen, YouScream! (left) porary music are given by some 180 independent specialist ensembles based in and Gerhild Steinbuch’s friendly fire (right), both performed at the 2017 Eclat Festival. Opposite page: Annelies Van Pary’s Private View (2015)

Concerts, performance events, music theatre: Stuttgart’s ECLAT Festival of New Music seeks to engage with other art forms.

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Germany. Despite this impressive and aesthetically forward-looking commitment, and performance venues. A major cornerstone for the growing attraction within very few of these ensembles are able to work on a more or less solid financial foot- this scene, and its popularity with the audience, is the Munich Biennale, founded ing. Among these at present are Ensemble Modern (Frankfurt am Main), Ensem- by the composer Hans Werner Henze in 1988. ble Musikfabrik (Cologne), ensemble recherche (Freiburg im Breisgau), Ensemble Mosaik (Berlin) and Neue Vocalsolisten (Stuttgart). Yet even these groups, none of PUBLISHERS AND ARCHIVES which has a permanent institutional basis, must struggle to maintain financial continuity or even to survive. The same applies to all the others, including many of Germany’s public radio companies report regularly on contemporary music in international stature. One clear indication of Germany’s vibrant musical landscape their broadcasts, some devoted entirely to new music. Articles on contemporary is the growing number of new ensembles, though this should not blind us to the music also appear regularly in the arts pages of Germany’s daily newspapers, al- dire pecuniary straits prevailing amongst most of them (see Richard Lorber und beit in decreasing frequency and length. Apart from these, the subject is chiefly Tobias Schick’s essay ‘Independent Ensembles’). discussed in specialist journals that report mainly or exclusively on new music.

Ensemble Musikfabrik, whose projects often combine music and performance art Among these are Neue Zeitschrift für Musik (founded in 1834, published bimonthly Of the 83 publicly funded music theatres in German cities, quite a few have recent- in Mainz), MusikTexte (founded in 1983, quarterly, Cologne), Positionen (since 1988, ly taken up (or returned to) the cause of contemporary music, whether with their quarterly, Mühlenbeck near Berlin), Musik & Ästhetik (founded in 1997, quarterly, own productions, new commissions or the development of independent formats Stuttgart) and Seiltanz (since 2010, semi-annually, Berlin). Some of these journals, and competitions (e.g. the Deutsche Oper in Berlin). Indeed, modern operatic mas- such as Neue Zeitschrift für Musik (NZfM), maintain their own up-to-date internet terpieces and contemporary music theatre are currently undergoing a renaissance portals. Moreover, several web magazines interested in contemporary music have in myriad forms, great and small. This is particularly true of the independent scene, formed in recent years, some free of charge, others for a fee. Examples include Van – which, however, is left to its own devices in the funding of its innovative produc- Webmagazin für klassische Musik (web magazine for classical music) and faust- tions and must create its own temporary infrastructure, such as rehearsal space kultur. Indeed, the internet has many important and interesting portals and home

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pages on contemporary music, some maintained by publishers, associations, so- SiSinnce 19886 the GGeGermanmaan MuMussic Coouncuunncilil hash s prp omoomomotedtet cieties, concert organisers or other institutions, others by private individuals. Espe- anda documumente ed thee wworkk of youunngg ccomcoomposo erserrs inn itts CDC sereriess Ediitiot n Zeiteittgengennöösösssss iscschehe MuMussikik. cially worthy of mention are the sometimes very lengthy programme booklets of various festivals with basic information on aesthetic and socio-political aspects of new music. Internet projects on contemporary music continue to proliferate, such as the primarily educational websites ‘Explore the score’ from the Ruhr Piano Festi- val, the ‘Datenbank Neue Musik’ (new music database) operated by various initiatives in Baden-Württemberg, and ‘Abenteuer Neue Musik’ (new music adventure), maintained by the German Music Council in conjunction with Schott Music.

Another ambitious publishing project based in Germany is the internationally aligned biographical dictionary Komponisten der Gegenwart (Composers of the present), which has been publishing biographies of composers, introductions to their music and bibliographical references on an ongoing basis since 1992 (Munich: Edi- tion text + kritik). Equally informative, especially for musicologists, is the 14-volume Handbuch der Musik im 20. Jahrhundert (Guide to 20th-century music), which con- tains cohesive discussions of larger subject complexes (Laaber, 1999-2011). More Turning to the recording industry, the leading German labels devoted partly or en- recent publications on this topic are the reference works Sound des Jahrhunderts tirely to contemporary music include Wergo, Cybele Records, Edition Zeitklang, edi- (Sound of the century), published by the Federal Agency of Civic Educa tion in Bonn, tion RZ, Maria de Alvear World Edition, gruenrekorder, Edition Telemark, Coviello and Lexikon Neue Musik (Kassel: Bärenreiter; Stuttgart: Metzler, 2016). and Winter & Winter. Moreover, the German Music Council has its own CD series, Edition Zeitgenössische Musik (Contemporary Music Edition), which has issued over Among Germany’s large publishing houses with a longstanding interest in is- 100 portrait CDs of German composers, male and female, on the Wergo label since suing sheet music of modern works – or those with a subsidiary in Germany – are 1986. Two or three portraits are added to the series every year. The composers, all Bärenreiter (Kassel), Boosey & Hawkes/Bote & Bock (Berlin), Ricordi (Berlin), Schott younger than 40, apply for inclusion themselves and are then selected by a panel (Mainz), Sikorski (Hamburg), Breitkopf & Härtel (Wiesbaden) and Edition Peters of experts specially appointed by the German Music Council. The choice of works (Leipzig). In addition there are a number of smaller publishers committed to con- on the CD and the contents of the accompanying booklet are left to the discretion temporary music, such as Edition Juliane Klein (Berlin) and Furore (Kassel), the lat- of the composers themselves. Another CD series sponsored by the German Music ter concentrating exclusively on women composers. But many composers tend to Council is Musik in Deutschland 1950–2000 (Music in Germany from 1950 to 2000), publish their scores themselves or place them on their websites for downloading a set of over 130 CDs documenting the evolution of contemporary music in both free of charge. Among publishers of books on contemporary music, special men- German states (the German Democratic Republic and the Federal Republic of Ger- tion should be made of Pfau (Friedberg), Wolke (Hofheim im Taunus), transcript many) up to 1990 and in reunited Germany up to the turn of the century. It was (Bielefeld) and Kehrer (Heidelberg), which specialises in writings on Klangkunst. released by Sony Music and reached completion in 2010. In contrast, Germany’s large literary and non-ﬁction publishers rarely carry books on contemporary music, just as its wide-circulation popular magazines rarely A major archive specialising in contemporary music is the Darmstadt Interna- report on it. tional Institute of Music (IMD), which also serves as Germany’s information centre

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for contemporary music and maintains a large specialist library. Since 2017 it has ment of musicology at a German university that devotes its teaching and research preserved a unique collection of several thousand digitalised audio, visual and tex- entirely to this subject. That said, since 2006 the International Ensemble Modern tual documents from Darmstadt’s International Holiday Courses in New Music, Academy (IEMA) and the Frankfurt University of Music and the Arts have jointly organised by the IMD since 1946. All the holdings are accessible free of charge of fered a one-year master’s programme in contemporary music. Since 2013 Frank- online in digitised form. Equally important is the Hellerau European Centre of furt University of Music has also maintained a professorship in ‘Performance and the Arts, which maintains the German Composers Archive and has collected the communication of contemporary music’. Indeed, other German musical institu- posthumous papers of composers since 2005. Darmstadt is also the home of the tions of higher learning, including those in Cologne, Munich and Stuttgart, have Jazz Institute with its large specialist research archive on improvised music. In ad- recently acknowledged the importance of contemporary music and the need to dition several academies, such as the Berlin Academy of the Arts, preserve large train students in it, and have introduced master’s degree programmes accordingly. collections of posthumous papers by various modern-day composers, performers The same applies to the teaching of musicology at the university level. Specially and musicologists. There also exist archives and research centres specialising in equipped professorships in present-day music can be found in the musicology de- particular musical figures, such as the Hindemith Institute in Frankfurt am Main partments of the universities in Cologne, Würzburg and Frankfurt am Main, with (since 1974). Finally, the audio archives of Germany’s public broadcasting compa- the latter notably including Klangkunst. For a good three decades students have nies – as well as the German Broadcasting Archive (Deutsches Rundfunkarchiv), shown increasing interest in contemporary music, as is evident in the growing which these companies maintain in Frankfurt am Main and Potsdam-Babelsberg – number of dissertations and theses in this field. preserve a gigantic treasure-trove of recordings and productions of contemporary works as well as interviews with performers, composers and musicologists. Special degree programmes in Klangkunst installations and audio-visual art have been established inter alia at the Academy of Media Arts Cologne, Braunschweig TRAINING AND EDUCATION University of the Visual Arts, Saar University of the Visual Arts and the Mainz School of Music at Johannes Gutenberg University in Mainz. The degree pro- Many activities associated with contemporary music take place at Germany’s gramme in ‘sound studies’, introduced at Berlin University of the Arts in 2002, not 24 musical institutes of higher learning (Musikhochschulen). All of these have de- only promotes the training of freelance sound artists, it also teaches acoustic pos- gree programmes in composition, and some offer a degree in electronic or electro- sibilities and forms of participation that can be utilised in business and industry. acoustical music. Many now also have their own institutes or studios of contempo- Similar projects at many tertiary-level academic institutions probe the rela tions rary music that sometimes operate independently of the curricula of other courses between contemporary music and architecture, sound design, sound art and radio of study and explore modern-day aesthetic concepts as both as discrete courses of art on a practical and/or theoretical basis, examples being the University of Tech- study and elements in cross-departmental discourses. nology, Business and Media in Offenburg and the Dieburg Media Campus of Darm- stadt University. The Institute of Applied Theatre Studies at Giessen University is A comparison of these institutions reveals sharp contrasts in their emphasis on likewise strongly committed to interdisciplinary training in the arts, among which contemporary music, which depends greatly on the commitment of the institu- contemporary music is firmly anchored. tion, its teaching staff and, of course, its students. As a result, centres of contemporary music at the university level can vary greatly over time. Contemporary music Germany attaches special importance to electronic and electro-acoustical music. In is also taught at a few public music schools, one being the Rhenish Music School the 1950s and 1960s several electronic music studios were founded at public broad- in Cologne. However, Germany does not have a tertiary-level musical institute that casting companies and institutes of higher learning. Some of these facilities have focuses its curriculum exclusively on contemporary music. Nor is there a depart- ceased operations, only to be followed by new or newly refurbished ones. Although

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The Darmstadt Holiday Courses from 2010 to 2016. Left: Atelier Elektronik. Right: a percussion workshop performing ‘c’ by Stefan Løfﬂer. Exchange, advanced Opposite page, top: a guest performance by the Curious Chamber Players. training, presentation: Middle: a concert in the temporary concert hall ‘StageCage’. Bottom left: action avec son obligé by Georges Aperghis. Bottom right: a workshop the contemporary music scene has been gathering at the Darmstadt Holiday Courses since 1946.

many music universities have their own electronic music studios with associated staff, electronic music is rarely a compulsory subject in the study of composition, and even less so in instrument teaching. This is surprising, given that works with (live) electronics now constitute a large and expanding repertoire. Since 2001 the Technical University in Berlin, working in close co-operation with the German Aca- demic Exchange Service (DAAD), has maintained the Edgard Varèse Guest Profes- sorship of Electronic and Computer Music, which is awarded to an internationally acclaimed composer or theorist for one semester at a time.

A special instance of Germany’s educational offerings in contemporary music is the unique International Holiday Courses in New Music, founded in Darmstadt in 1946. Here several hundred students gather together for two weeks every two years to be taught composition, performance and musicology by some two dozen lecturers. In 2003 Ensemble Modern set up the International Ensemble Modern Academy on its own initiative in Frankfurt am Main in order to pass on their experience in new music within the framework of interdisciplinary artistic forums. Fur- ther, the Baden-Württemberg Ensemble Academy in Freiburg, in existence since 2004, has likewise held events in an effort to teach practical and theoretical aspects of contemporary music, partly in conjunction with ensemble recherche and the Freiburg Baroque Orchestra. Another important independent teaching 344 345 Contemporary Music |

facility is the Darmstadt Institute of New Music and Musical Education (Institut nation wide or international in scope. Several of these varied initiatives have been für Neue Musik und Musikerziehung, or INMM), which has held multi-day wor- short-lived, while others are continually springing into existence, often with king conferences on the propagation of aesthetic and educational positions in con- fresh concepts and ideas. In the final analysis, contemporary music, like any other temporary music every year since 1946. There are also several initiatives devoted present-day art form, is not a static construct but one in a constant state of flux, to children and young adults, such as the composition classes for children at the as are the undertakings associated with it, which are almost always based on Handel Conservatory in Halle (since 1976), the composition courses for children private initiatives. and young adults organised and sponsored by the L’art pour l’art ensemble in Winsen an der Luhe (since 1999), the ‘Jugend komponiert’ (Youth composes) pro- In 2012 the New Music Network (Netzwerk Neue Musik) was formed in Baden- jects introduced in various regional branches of the German Music Council and, Württemberg, gathering together the state’s many institutions and ensembles in since 1986, the national composers’ competition held by the German branch of order to promote contemporary music on a collaborative basis and to carry out ‘Jeunesses musicales’ in Weikersheim. joint projects. In 2015 the Contemporary Music Theatre Initiative was formed in Berlin, creating an aesthetic, organisational and debate platform for the rapidly ASSOCIATIONS, SOCIETIES, INITIATIVES growing scene of independent music theatre, which currently faces the great chal- lenge of finding a long-term foothold. Established in 1922, the German chapter of the International Society for Con- temporary Music (ISCM) – the Gesellschaft für Neue Musik (GNM) – is the oldest PRIZES, SCHOLARSHIPS, GRANTS and largest umbrella organisation for all persons and groups interested in contemporary music in Germany. Its members include private individuals from a very Like other forms of artistic expression today, contemporary music in Germany wide range of professions as well as several institutions and companies (e.g. radio has many prizes, scholarships and grants as well as temporary artist- or composer- stations, concert halls, professional associations and publishers). In various cities in-residence positions, which are often publicly advertised. This is not the place and regions the GNM has so-called regional groups actively involved in promot- to list them all, particularly as many have had to be abandoned while others are ing contemporary music in concerts and round-table discussions on issues of arising to take their place. Detailed information on them can be obtained from the aesthetics and cultural policy. Another member of the GNM is the German So- German Music Information Centre, especially via its calendar of applications (Aus- ciety for Electro-Acoustical Music (Deutsche Gesellschaft für Elektroakustische schreibungskalender), which offers a full overview of various forms of financial Musik, or DEGEM), whose members come from the field of electronic and electro- assistance in Germany’s contemporary music scene. Contemporary music projects acoustical music, and which issues its own CD series and maintains its own web generally receive assistance (with financial or equivalent means) from public in- radio. The GNM is in turn a member of the German Music Council, which it ad- stitutions and facilities within the framework of their respective statutes. These vises in matters involving contemporary music. Moreover, the GNM or one of its include the Federal Cultural Foundation (Halle an der Saale); the Centre of Art and members has organised the annual ISCM World New Music Days in Germany on Media in Karlsruhe (ZKM), which awards working scholarships; Germany’s per- several occasions, beginning in Frankfurt am Main in 1927 and most recently in formance rights organisation, the Gesellschaft für musikalische Aufführungs- Stuttgart in 2006. und mechanische Vervielfältigungsrechte (GEMA), which awards the German Music Author Prize; the Karl Sczuka Prize for Acoustic Art, awarded by the South- All in all, the number of societies and initiatives involved with contemporary western Broadcasting Corporation (SWR); the Reinhard Schulz Prize for Contem- music in Germany is very large and spread over many cities and regions. Many porary Music Journalism, based at the International Music Institute in Darmstadt; are active locally or regionally; others, such as the GNM, are for the most part and the Young Author Forum of Musik Texte, likewise aligned on writings about

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At the Impuls Festival the orchestras of Saxony- Anhalt gather together into a network to present contemporary music in various cities of this German state, accompanied by master classes for promising young musicians.

contemporary music. Fortunately, other major scholarships and grant pro grammes have arisen in recent years. One, sponsored by the Berlin Senate, may well function as a model for Germany’s other states and metropolitan regions. These in turn support the current music scene through their own regional foundations, such as the Art and Culture Foundation of North Rhine-Westphalia. Finally, there are the Granted, the socio-economic infrastructure of Germany’s contemporary music various cultural foundations sponsored by German business firms (e.g. Aventis, scene is neither desolate nor underdeveloped. But contemporary music has al- Allianz and Deutsche Bank) and private foundations (e.g. the Ernst von Siemens ways been a delicate matter, and invariably requires the utmost in attention, Foundation for Music). care, commitment, vision and imagination as well as the best possible structural underpinnings. What is called for now is to design and discuss independent and CONCLUSION future- oriented visions of contemporary music on a very wide range of levels in cultural life and, ultimately, to give them a solid footing in society as a whole. Contemporary music in Germany no longer leads a wallflower existence. The While there is no question that Germany remains a ‘land of music’, it is also a lead- number of people in Germany interested in listening to and critically engaging ing nation in the international field of contemporary music – a fact that must be with topical, progressive and subtle creations of acoustical art has steadily grown. conveyed to society and its (cultural) politicians more forcefully than hitherto. This positive development is also the result of decades of on-going commitment from composers, performers, musicologists, journalists and concert organisers. Yet it is a commitment that still requires broad-based support as well as sustained material and conceptual assistance from German society. Stefan Fricke is a contemporary music editor at the Hessian Broadcasting Corporation and an honorary professor at the Mainz School of Music at Johannes Gutenberg University Mainz.

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This publication has been made possible by the kind support of the Minister of State for Culture and the Media. First edition, Bonn, March 2019 (German) and December 2019 (English)

Publisher The German Music Information Centre is supported by: German Music Council German Music Information Centre

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Note We wish to express our gratitude to all those persons and institutions that generously placed pictorial The present volume is an English translation of the German-language publication Musikleben in Deutsch- material at our disposal. Without their support this multifaceted view of ‘Musical Life in Germany’ land, which appeared in March 2019. The editorial deadline for the German edition was 30 September 2018; would not have been possible. information published after that date has been taken into account wherever possible and meaningful. All

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invited to send all questions and comments regarding the contents to Title page/spine/bookmark: a member of the Youth Symphony Orchestra of Leipzig Music School performing at the German Orchestra Competition in Ulm, 2016. © Jan Karow

German Music Council Back cover: the roof of the Elbphilharmonie in Hamburg. © www.mediaserver.hamburg.de/Maxim Schulz German Music Information Centre Weberstr. 59 Page Copyright Page Copyright 53113 Bonn 5 © Veronika Kurnosova 16/17 © Claus Langer/WDR Germany 8/9 © Annette Börger 18/19 © Silvia Hauptmann Phone: +49 (0)228 2091-180, Fax: +49 (0) 228 2091-280 10/11 © MDR/Marco Prosch 20/21 Melt Festival © Stephan Flad [email protected] 12/13 © Heiko Rhode 22 © Elke A. Jung-Wolff www.miz.org 14/15 © Hartmut Hientzsch

Managing Director of the German Music Council: Stefan Piendl Page Copyright Page Copyright Director of the German Music Information Centre: Stephan Schulmeistrat 30/31 © Tobias Döhner/www.folklang.de 36 © Geoffry Schied | © Silverangel Photography | 32 © Lea Letzel © Martin Sigmund | © ICS Festival GmbH All rights reserved. This work, including every section contained within it, is protected by copyright. Any 34 © Jan Krauthäuser 39 © Claudia Höhne | © Benjamin Krieg 40 © Eliane Hobbing use beyond the narrow limits of copyright regulations without the previous consent of the publisher 35 © Vera Lüdeck (left) | © Heiko Rhode (top right) | © Landesakademie für die musizierende Jugend 44/45 © JeKits-Stiftung is prohibited and punishable by law. This applies in particular to mechanical reproduction, translation, in Baden-Württemberg/Foto: Steffen Dietze 47 © Hans Jörg Michel micro filming, and electronic storage and processing. (bottom right)

Production: ConBrio Verlagsgesellschaft mbH, Regensburg Printing and binding: druckhaus köthen GmbH & Co. KG, Köthen Ch. 2 | Music in Germany’s State Education System Maps: Silke Dutzmann, Leipzig Page Copyright Page Copyright Artwork and design: SINNSALON Reese, Design für Kommunikation, Hamburg 50/51 © Oliver Borchert 61 © Richard Filz Layout and typesetting: Text- & Graphikbüro für Kultur Birgit A. Rother, Werther (Westf.) 53 © BMU-Archiv 67 © Oliver Borchert 56 © Aaron Grahovac-Dres 70/71 © Gerold Herzog 58 © Oliver Borchert 74/75 © Anja Albrecht ISBN 978-3-9820705-1-3 4 Ch. 3 | Music Education Outside the State School System

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80/81 © Volker Beushausen für LMA NRW 93 © JeKits-Stiftung 82 © JMD 95 © Bo Lahola 85 © Jessica Schäfer 100/101 © Erich Malter 86 © VdM/Heiderich 104 © Landesakademie für die musizierende Jugend 90 © VdM/Foto: Kai Bienert | © VdM in Baden-Württemberg/Foto: Steffen Dietze 91 © VdM

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Ch. 4 | Music Communication Ch. 9 | Music Theatre

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108/109 © Emile Holba 119 © Stefan Gloede | NDR/Foto: Micha Neugebauer | 244/245 © Bayerische Staatsoper/Wilfried Hösl 255 © Gert Weigelt 111 © MDR/Stephan Flad © Bayerische Staatsoper/Wilfried Hösl | 247 © Bayerische Staatsoper/Wilfried Hösl 256/257 © Oper Frankfurt/Barbara Aumüller © Ursula Kaufmann/NTM 112 © Michael Habes | © Jörg Baumann 250 © Bernadette Grimmenstein (top left) | © Hans Jörg 258 © Paul Leclair 113 © Michael Habes 120 © Stefan Gloede Michel (bottom left) | © Stephan Floss (top right) | 260/261 © Monika Rittershaus © Pedro Malinowski/MiR (bottom right) 114 © Siegfried Westphal 124/125 © Netzwerk Junge Ohren/Oliver Röckle 262/263 © Disney/Stage Entertainment 118 © Niklas Marc Heinecke | © Holger Talinski 126 © Koppelstätter Media 251 © Marcus Ebener 266 © Iko Freese/drama-berlin.de 252 © Landestheater Detmold/Maila von Haussen 269 © Hans Jörg Michel/NTM

Ch. 5 | Education for Music Professions Ch. 10 | Concert Halls Page Copyright Page Copyright Page Copyright Page Copyright 130/131 © Thorsten Krienke 145 © Frank Beyer (top, middle, bottom left) | 274/275 © Guido Erbring 283 © Markenfotografie | 133 © Sonja Werner Fotografie | © Christian Kern © Thorsten Krienke (bottom right) 276 © Volker Kreidler © David Vasicek/pix123 fotografie frankfurt 134 © Heike Kandalowski 151 © Lutz Sternstein 279 © www.mediaserver.hamburg.de/Maxim Schulz | 285 © Heribert Schindler 156 © Kai Bienert | Pedro Malinowski 139 © Photo Proßwitz (top left) | © Torsten Redler © www.mediaserver.hamburg.de/Michael Zapf | 286 © Köln Musik/Matthias Baus (bottom left) | © Thorsten Dir (right) 157 © Aldo Luud www.mediaserver.hamburg.de/Michael Zapf/ 288 © Jens Gerber, 2016 | 143 © Robert Schumann Hochschule/S. Diesner Architekten Herzog & de Meuron | © Konzerthaus Berlin/David von Becker www.mediaserver.hamburg.de/Geheimtipp Hamburg 289 © Christian Gahl | © Daniel Sumesgutner 280 © Mark Wohlrab 293 © Stefan Gloede| © Christina Voigt 281 © VZN/B. Schaeffer Ch. 6 | Amateur Music-Making 296/297 © Naaro 282 © Sebastian Runge | © Frank Vinken | © Gert Mothes Page Copyright Page Copyright

160/161 © Notenspur Leipzig e.V./Foto: Daniel Reiche 175 © Bertram Maria Keller (top) | © Rebecca Kraemer 162 © Notenspur Leipzig e.V./Foto: Daniel Reiche (middle) | © Heiko Rhode (bottom) Ch. 11 | Festspiele and Festivals 176 © Volker Beurshausen für LMA NRW 166 © EPiD Page Copyright Page Copyright 167 © EPiD/Foto: Marianne Gorka | 178 © Bundesakademie Trossingen/Nico Pudimat © EPiD/Foto: Hartmut Merten 179 © Landesakademie für die musizierende Jugend 300/301 © Axel Nickolaus 315 © Janet Sinica 169 © DCV/Alex Zuckrow | © DCV/Rainer Engel in Baden-Württemberg/Foto: Steffen Dietze 303 © Bayreuther Festspiele GmbH/Foto: Jörg Schulze 316 © Kurt Weill Fest Dessau GmbH/ Fotos: Sebastian Gündel 172 © Jan Krauthäuser 180/181 © Jan Karow 304 © Bayreuther Festpiele/Enrico Nawrath 185 © Jan Krauthäuser 306/307 © KunstFestSpiele Herrenhausen, 319 © Thüringer Bachwochen Fotos: Helge Krückeberg, 2018 320 © Ansgar Klostermann Ch. 7 | Orchestras, Radio Ensembles and Opera Choruses 308 © Thomas Ziegler 321 © Marco Borggreve 312 © WPR Schnabel (top left) | 322 © Musikfest Erzgebirge Page Copyright Page Copyright © Lutz Voigtländer (bottom left and right) 325 © Claus Langer/WDR 313 © Lutz Edelhoff 188/189 © Peter Adamik 205 © Susanne Diesner | © Jan Roloff 191 © Matthias Creutziger 207 © Gert Mothes 192 © Markus Werner 208 © Adrian Schulz Ch. 12 | Contemporary Music 193 © Marian Lenhard 211 © WDR | © WDR/Thomas Kost 194/195 © Peter Meisel (BRSO) 212 © Marco Borggreve Page Copyright Page Copyright 198 © Stefan Höderath 213 © rbb/Thomas Ernst 328/329 © IMD/Daniel Pufe 338/339 © Klaus Rudolph 199 © Hans Engels 214 © Annette Börger 330 © Peter R. Fiebig | © grafox gestaltung und fotografie 341 © Deutscher Musikrat/Gerardo Scheige 202 © Ufuk Arslan 215 © Selina Pfruener | © Silvano Ballone 332/333 © SWR/Oliver Reuther 344 © IMD/Daniel Pufe 335 © Ursula Kaufmann/Ruhrtriennale 2018 345 © IMD/Jens Steingässer | © IMD/Daniel Pufe 336 © Martin Sigmund 348 © Antoine Porcher Ch. 8 | Independent Ensembles 337 © Koen Broos 349 © Markus Scholz (left and top right) | © Kathrin Singer (bottom right) Page Copyright Page Copyright 218/219 © Dominik Mentzos Photography 232 Ensemble Ordo Virtutum/SWR (top) | Hauptstaats- Ch. 13 | Popular Music 220 © Gerhard Kühne archiv Stuttgart/picture: Stefan Morent (bottom left) | Hauptstaatsarchiv Stuttgart/picture: Stefan Morent Page Copyright Page Copyright 222 © Holger Talinski | © Geoffroy Schied (bottom right) 223 © Sonja Werner (top) | © Geoffroy Schied (middle and 350/351 © Timmy Hargesheimer 365 © Christian Faustus bottom right) | © Holger Talinski (bottom left) 233 Stadtarchiv Konstanz/picture: Stefan Morent 353 © Reinhard Baer 366 © NDR/Rolf Klatt 226 © Holger Schneider 234 © Fabian Schellhorn 356 © Carsten Klick 369 © MDR/ORF/Peter Krivograd | 227 © Capella de la Torre/Andreas Greiner-Napp 236 © Kai Bienert | © Barbara Aumüller 358 © Sandra Ludewig © MDR/ARD/Jürgens TV/Dominik Beckmann 229 © Jörg Hejkal 237 © Walter Vorjohann 360 Melt Festival © Stephan Flad 372 © Jan Krauthäuser 238 © Beate Rieker/ensemble recherche 361 © ICS Festival Service GmbH/Rolf Klatt

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Ch. 14 | Jazz Ch. 19 | Music Museums and Musical Instrument Collections

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376/377 © Jens Schlenker 391 © Nikolai Wolff/Messe Bremen (top) | 486/487 © Kulturstiftung Sachsen-Anhalt, Foto: Ulrich Schrader 498 © Germanisches Nationalmuseum/ © Jan Rathke/Messe Bremen (middle and bottom right) | 379 © Wilfried Klei | © Jürgen Volkmann 488 © Kulturamt der Stadt Zwickau Foto: Dirk Meßberger © Jens Schlenker/Messe Bremen (bottom left) 380/381 © Elisa Essex 491 © Nationalarchiv der Richard-Wagner-Stiftung, Bayreuth 501 © Atelier Brückner/Michael Jungblut 392 © WDR/Kaiser | © WDR/Voigtländer 386 © Deutscher Musikrat/Thomas Kölsch | © Investitions- und Marketinggesellschaft Sachsen-An- 502 Foto: Frank Schürmann © Rock 'n' Popmuseum 395 © Jan Rathke/Messe Bremen 388/389 © Peter Tümmers halt mbH | © SCHAU! Multimedia | 505 © Uwe Köhn © Beethoven-Haus Bonn 506 © Bach-Museum Leipzig/Jens Volz 494 © SIMPK/Anne-Katrin Breitenborn 507 © André Nestler 495 © Musikinstrumentenmuseum der Universität Leipzig/ 508 © Aloys Kiefer | © Ulrich Perrey Ch. 15 | World Music Foto: Marion Wenzel Page Copyright Page Copyright

400/401 © Oliver Jentsch 408 © D. Joosten | © Frank Diehn 402 © Andy Spyra 409 © S. Hauptmann (top and bottom right) | Ch. 20 | Preferences and Publics © Matthias Kimpel (middle and bottom left) 405 © Silverangel Photography Page Copyright Page Copyright 410 © Daniela Incoronato 510/511 © Konzerthaus Berlin/David von Becker 521 © NDR/Foto: Micha Neugebauer 513 © Stefan Gloede 524 © Jonathan Braasch Ch. 16 | Music in Church 514 © Semperoper Dresden/Matthias Creutziger (top left) | 525 © Lutz Edelhoff Page Copyright Page Copyright © Martin Sigmund (bottom left)| © Niklas Marc 526 © NDR/Alex Spiering Heinecke (top right) | © Leo Seidel (bottom right) 529 KunstFestSpiele Herrenhausen, 414/415 © Beatrice Tomasetti 423 © Michael Vogl 515 © Bayerische Staatsoper/Felix Loechner Foto: Helge Krückeberg, 2018 416 © MBM/Mathias Marx 424 © Eugène Bornhofen 518 © Landestheater Detmold/Kerstin Schomburg | 530 © Saad Hamza 419 © Antoine Taveneaux/CC BY-SA 3.0 (top left) | 427 gemeinfrei | © Gottfried-Silbermann-Gesellschaft | Landestheater Detmold/A. T. Schäfer © Deutsches orthodoxes Dreifaltigkeitskloster © Michael Zapf | © Martin Doering (bottom left) | © Beatrice Tomasetti (top right) | 431 © Cornelius Bierer © Tobias Barniske (bottom right) 434 © Gert Mothes 420/421 © Hartmut Hientzsch 440/441 © Stefan Korte Ch. 21 | Music in Broadcasting 422 © Matthias Knoch Page Copyright Page Copyright

536/537 © Schwetzinger SWR Festspiele/Elmar Witt 546 © SAT.1/ProSieben/André Kowalksi Ch. 17 | Musicology 539 © WDR/Thomas Kost | © WDR/Ines Kaiser 549 © WDR/Herby Sachs 540/541 © Claus Langer/WDR 552 © ARD Degeto/X-Filme/Beta Film/ Page Copyright Page Copyright 542 © MDR/Marco Prosch Sky Deutschland/Frédéric Batier 559 © Schwetzinger SWR Festspiele/Elmar Witt 444/445 © HfM Weimar/Foto: Guido Werner 453 © Beethoven-Haus Bonn 545 © NDR/Micha Neugebauer 446 © Roman Wack 454 © Beethoven-Haus Bonn 448 © Staatstheater Nürnberg/Ludwig Olah 457 © Musikinstrumentenmuseum der Universität Leipzig, 449 © fimt/Sebastian Krauß (left) | Johannes Köppl Ch. 22 | Music Economy © Museen der Stadt Nürnberg, Dokumentations- 461 © HfM Weimar/Foto: Daniel Eckenfelder | zentrum Reichsparteitagsgelände (top right) | © HfM Weimar/Foto: Maik Schuck | Page Copyright Page Copyright © fimt/Abgabe Rüssel1 (bottom right) © HfM Weimar/Foto: Guido Werner | 450 © Ethnologisches Museum, Staatliche Museen © HfM Weimar/Foto: Alexander Burzik 566/567 © Timm Ziegenthaler 585 © WDR/Ines Kaiser zu Berlin/Foto: Martin Franken | 568 © Verlag Der Tagesspiegel 586 © Alciro Theodoro da Silva | © Ethnologisches Museum, Staatliche Museen 571 © Messe Frankfurt/Petra Weizel © Bärenreiter/Foto: Paavo Blåfield zu Berlin/Foto: Dietrich Graf 576 © Schott Music 589 © Musikalienhandlung M. Oelsner Leipzig 580 © BuschFunk 592/593 © C. Bechstein Pianoforte AG/Fotos: Deniz Saylan 582 Melt Festival © Stephan Flad 594/595 © Bach by Bike Ch. 18 | Information and Documentation

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