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MUSICAL Life Contents | 10 | Concert Halls 274 MUSICAL LIFE Benedikt Stampa 11 | Festspiele and Festivals 300 in Germany Franz Willnauer 12 | Contemporary Music 328 CONTENTS Stefan Fricke 13 | Popular Music 350 Intro Prefatory note Preface Editorial note Peter Wicke Music Monika Grütters Martin Maria Krüger German Music 14 | Jazz 376 is variety Minister of State for President of the Information Centre Hans-Jürgen Linke Culture and the Media German Music Council 15 | World Music 400 Julio Mendívil 8 22 24 26 16 | Music in Church 414 Meinrad Walter 17 | Musicology 444 Essays Page Dörte Schmidt 18 | Information and Documentation 464 1 | Introduction: Musical Life in Germany 30 Martina Rebmann, Reiner Nägele Christian Höppner 19 | Music Museums and Musical Instrument Collections 486 2 | Music in Germany’s State Education System 50 Heike Fricke Ortwin Nimczik 20 | Preferences and Publics 510 3 | Music Education Outside the State School System 80 Karl-Heinz Reuband Michael Dartsch 21 | Music in Broadcasting 536 4 | Music Communication 108 Holger Schramm Johannes Voit 22 | Music Economy 566 5 | Education for Music Professions 130 Wolfgang Seufert Hans Bäßler, Ortwin Nimczik 6 | Amateur Music-Making 160 Astrid Reimers The German 7 | Orchestras, Radio Ensembles and Opera Choruses 188 Music Council 600 Gerald Mertens Barbara Haack 8 | Independent Ensembles 218 Richard Lorber, Tobias Eduard Schick List of institutions and abbreviations 614 9 | Music Theatre 244 Arnold Jacobshagen Picture credits 616 6 7 Prefatory Note | and abroad who are interested in the diversity of Germany’s musical life and its current offerings, contacts and statistics. Nowhere else can one find such a huge amount of information on Germany’s music in such a convenient yet authoritative form. The facts from the Music Information Centre, presented with unparalleled depth and reliability, impressively demonstrate that Germany is a musical nation of international stature. Choral singing, the specific traditions of plainchant and boys’ choirs, and various forms of instrumental performance have all found their way on to the national list of Germany’s intangible cultural heritage, confirming the high value that society places on singing and music­making. The federal government and the 16 states have even nominated Germany’s theatre and orchestra landscape – unique in the world for its density – for inclusion on UNESCO’s List of Intangible Cultural Her­ itage, where organ building and organ playing have already found a place as spe­ cial German traditions. Young musicians from many countries study at Germany’s tertiary­level schools of music precisely because they find themselves in an en­- vironment abounding in superb orchestras, ensembles, soloists, concert halls, festi­ PREFATORY NOTE vals, instrument makers, advanced training events and creative artists. We have every right to take pride in all of this, for a rich musical life can flourish wher­ from the Minister of State for Culture and the Media ever there exists a solid bedrock of infrastructure, social recognition and financial support. But we must not rest on the laurels of these achievements: in the future, ‘He who starts out in life with music will have a treasure that enriches all his later too, the maintenance and expansion of musical life must be an obligation of Ger­ activities’. So said the Hungarian composer Zoltán Kodály. Nor is it ever too late many’s federal government, states and municipalities. to start out with music. A wonderful point of departure on such a journey would be the publication Musical Life in Germany, a cultural calling card and a compact I wish to thank everyone involved in this project and hope that the publication guide to our country’s uncommonly lively and varied musical landscape. It pro­ finds a great many readers excited in taking voyages of discovery through Ger­ vides an overview of professional ensembles, musical institutions, concert orga­- many’s world of music – and in enriching their lives in the spirit of Zoltán Kodály! n isers, festivals and their work. It also presents an illuminating overview of music training and outreach, music in the media, the various branches of the music econ­ omy and publishing firms, as well as the large fields of church music and amateur vocal and instrumental music. Not least, it explains how Germany’s musical life is organised, and how and by whom it is financed. For 20 years the German Music Information Centre, a core project of the German Professor Monika Grütters, MP Music Council, has been the main point of contact for music lovers from Germany Minister of State to the Federal Chancellor 22 23 EditorialPreface Note | PREFACE That this publication was possible at all is primarily due to the commitment of the from the President of the German Music Council Federal Government Commissioner for Culture and the Media, Minister of State Professor Monika Grütters, and her staff. She has championed the work of the Music Information Centre in signal ways. I also wish to extend my gratitude to the Dear Reader Standing Conference of the Ministers of Education and Cultural Affairs (KMK), the Providing documentation on Germany’s multi­layered musical life in all its facets Cultural Foundation of the German Federal States (KSL), the City of Bonn and, in and making it accessible to each and every individual is one of the central con­ the private sector, the Collecting Society for Performance Rights (GVL). Their ideal cerns of the German Music Council. It was for this reason that the Council, in 1998, support and long­term funding have enabled the Centre to gather and present its established the German Music Information Centre, a facility empowered to sys­ voluminous information holdings, thereby creating the basis for the emergence of tematically analyse and process the structures and developments of musical life the present publication. I would also like to thank Hal Leonard Europe for their kind and to convey them to a broad range of target groups. Today, 20 years later, the support that made possible the translated version of the book. Equally deserving Music Information Centre is celebrating a minor jubilee, and no one interested in of thanks is Germany’s Collecting Society for Musical Performance and Mechanical music, whether professionally or not, can imagine doing without it. The demand Reproduction Rights (GEMA) for its long­term funding of the Centre. I am likewise for solid and reliable information about Germany’s musical life is as great as ever, grateful to the Centre’s governing board, which, under its chairman, State Secre­ both nationally and throughout the world. tary ret. Professor Dr Joachim­Felix Leonhard, has gathered together representa­ tives of major institutions in Ger many’s musical life and made effective use of the The former standard reference work, Musik-Almanach, last appeared in print in authority of experts for the Centre’s further evolution. The governing board has 2006. Since then the Music Information Centre has continued to expand its volu­ significantly supported the work of the editorial staff on a great many separate minous information offerings online. That it constantly addresses current issues in issues. Finally, I especially wish to thank the Centre’s employees, particularly its musical and social policy is evident not least of all in its information portal ‘Music director Stephan Schulmeistrat and its scholarly assistant Dr Christiane Schwerdt­ and Integration’, which has given long­term impetus to the work of musical inte­ feger, who have together been responsible for editing the present publication. gration in Germany. Now, to mark its 20th anniversary, the Centre is presenting I offer them my hearty congratulations for this compendium on the musical nation its most recent project, a printed publication describing every facet of Germany’s of Germany and wish all readers a rewarding and stimulating reading experience. musical status quo. With Musical Life in Germany, the Centre has succeeded in compil ing an up­to­date compendium of information covering every major area of Sincerely musical life. The spectrum ranges from musical training and education to amateur and professional music­making to the media and the music economy. Separate essays appear on music in church, contemporary music and jazz as well as music preferences, music communication/outreach and the richly varied popular music scene. Proceeding from the latest facts and figures, the authors provide insights Professor Martin Maria Krüger into their respective areas of expertise. The book thus offers a rich body of infor­ President of the German Music Council mation on musical life as a complex subarea of our cultural existence, a subarea tightly interwoven with developments in society and the economy. I wish to ex­ tend my warm thanks to all the authors in the present volume. 24 25 Editorial Note | EDITORIAL NOTE special databases, e.g. on continuing and further education in music or on such German Music Information Centre current social issues as ‘Music and Integration’. Direct links to selected areas from its wide­ranging programme (in German) can be found in the present book via QR codes. Germany is a country with rich musical traditions and a thoroughly vibrant and protean music scene. Many genres, styles and musical cultures have evolved here Following a long hiatus, we are delighted once again to present a compendium in over the centuries, ensuring a wide range of offerings for today’s music lovers. printed form. Initially issued in German in March 2019, we are happy to publish Musical Life in Germany sheds light on the current state of affairs in key fields of it in English translation in a timely manner. Our special gratitude extends to the musical culture. With its English­language edition, the German Music Informa­ authors of the essays, who made this work possible with their scholarly expertise. tion Centre hopes that experts and interested readers from outside the German-­ Besides topics that have long formed part of the Centre’s programme, others have speaking countries can gain insights into this many­sided cultural area.
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