Independent Ensembles

Richard Lorber / Tobias Eduard Schick

INDEPENDENT ENSEMBLES

In German Music Council / German Music Information Centre, ed., Musical Life in Germany (Bonn, 2019), pp. 218–243

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 |

Independent ensembles

8 Independent ensembles are a major engine of innovation and creativity in musical life, but they often work under trying conditions. Here Richard Lorber and Tobias Eduard Schick examine their programmes and finances, and shed light on the early music and avant-garde scenes.

Wolfgang Rihm’s Jagden und Formen, a musico-choreographic project of Ensemble Modern and Sasha Waltz & Guests 218218 219219 Independent Ensembles |

| Richard Lorber / Tobias Eduard Schick ORGANISATIONAL STRUCTURE AND FINANCING

The term ‘independent ensembles and orchestras’ refers to professional mu- INDEPENDENT ENSEMBLES sical formations whose members work freelance and are usually involved in the ensemble as ‘shareholders’.1 Quite often they adopt the legal status of a civil-law partnership (Gesellschaft des bürgerlichen Rechts, GbR). This is an eminently In addition to publicly funded orchestras, Germany has hundreds of indepen- practical arrangement; it has few formal strictures, and is inexpensive and bureau- dent ensembles and orchestras of various sizes, with variable combinations of cratically simple to handle. But there are also artistic considerations, for each musicians and distinctive repertoires, especially in the ﬁelds of early music and shareholder has wide-ranging powers of co-determination. On the other hand, this contemporary music. They form a broad-based foundation for diverse and differ- legal status is fraught with dangers, since a partnership’s members are personally entiated concert activities and are found throughout the entire country. That said, liable for its total debts. The shareholders of an ensemble may in clude either all their activities tend to be centred in large cities and urban conglomerations. There its members (as with Concerto Köln and the Akademie für Alte Musik in Berlin) or are more than 40 contemporary music ensembles in Berlin alone, and some 25 in several of its leading musicians. Cologne specialising in early music. A similar density of specialist ensembles can be found in Munich, Hamburg and Freiburg im Breisgau. Moreover, indepen- Even outstanding and highly proliﬁc ensembles, such as ensemble recherche in dent chamber orchestras, often with programmes based around the baroque, Freiburg or Ensemble Modern, are GbRs. The latter adopted this status after ex- pre- classical and classical-romantic repertoires, frequently settle in regions with tricating itself in 1987 from the organisational structures of the Young German especially rich musical traditions, such as Central Germany. Philharmonic from which it emerged. For those that have a management, the members of the management staff are usually hired by the GbR rather than form- ing part of it. In some cases, as with ensemble recherche, the management also

Ensseemble Resonaonaanz’nnz s ‘Urbrbbann SStrSt iingngng’s’ seriere eses,s,, heheldld inin forms a second GbR connected with the ensemble via an agency contract. Often thet Hochbunknkere inn thethhhee StS Paaulili ddiistrst iictt off HHambumbmbbuurgg ensembles function in the legal status of a registered association (eingetragener Verein, e. V.), which not only gives them the beneﬁts of a non-proﬁt organisation but also limits members’ liability to the association’s assets, provided that the members are not personally liable to the full extent. Examples in clude the Cologne Chamber Orchestra, the Balthasar Neumann Choir and Ensemble, the Heidelberg Symphony Orchestra and Ensemble Zeitsprung. Various permutati- ons of e. V. structure, GbR and GmbH (Gesellschaft mit beschränkter Haftung, or limited liability company) also allow some ensembles to deal with different forms of income (donations, proceeds from CD sales, etc.). In many cases, however, musicians play in an ensemble without explicitly regulating its legal status. This is especially true of very small formations (duos, trios etc.) and of groups that work on a small scale. In this case individual contracts are frequently drawn up between the participants and the concert organiser concerned, or one member of the ensemble will sign these agreements on behalf of the others.

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Left: ‘Feel the Music’, a programme with deaf and aurally impaired children. Right: a concert of the Mahler Chamber Orchestra (MCO) Opposite page, top: students of the MCO Academy working at the ‘Nomadic collective’: the musi- North Rhine-Westphalian Orchestra Centre. Middle and bottom right: cians in the Mahler Chamber working with Mitsuko Uchido. Bottom left: ‘Feel the Music’ Orchestra come from more than 20 countries and join forces with different partners for projects and tours. Talent development and education projects are permanent parts of their schedule.

Independent ensembles have enormous importance for music in Germany, func- tioning as an engine for innovation and creativity. This stands in blatant contradic- tion to the frequently difficult conditions to which they are exposed. Rarely do they receive institutional support (unlike in France, for example). Even in the case of such ‘flagships’ as the Freiburg Baroque Orchestra or Ensemble Modern, such support makes up at most 20 to 25 per cent of their total budget. This necessitates alternative sources of income, of which, besides box office proceeds and fees from outside organisers, grants-in-aid for their own projects are particularly important. Many ensembles also try to branch out into different styles, not only for artistic rea sons, but to enlarge their financial potential. They establish promotional socie- ties to channel local private support, and become attached to neighbouring higher education institutes, which in turn allows them to recruit suitable musicians for their own ranks.

The few prominent and comparatively well-funded ensembles are offset by a mul- titude of other formations whose working conditions can at best be described as precarious. Usually this highly dichotomous situation is also reﬂected in their organisational structures: while some ensembles have a professional management 222 223 Independent Ensembles |

team, the administrative work of countless smaller ensembles is spread among TVK), we note a clear discrepancy in the volume of institutional funding and the their members, who, quite apart from their musical skills, take on such tasks as economic risk incurred by individual members. Owing to their different financing bureaucratic paperwork, bookkeeping or project management. Moreover, as the options, the average annual income of a member of an independent ensemble, even number of independent ensembles continues to grow, more and more groups if world-renowned, is usually far less than that of an employee in a TVK orchestra. compete for project funding, with publicly funded ensembles also being able to apply for special grants. Even in the rare instances where core funding is grant- Given these economic drawbacks, the question arises why musicians play in inde- ed, the amount is seldom enough to cover the operating costs of a (part-time) pendent ensembles at all. Here it is surely significant that the number of positions management position or the rental of office or rehearsal space. These difficulties in publicly funded orchestras has dropped by nearly 20 per cent since 1992,2 unlike frequently cause the range of options to stagnate at a fairly low level. For this the number of music school graduates, so that alternative fields of activity have reason, ensembles typically give no more than five to 15 concerts a year. Their ac- become increasingly important. On the other hand, independent ensembles give tivities can also vary dras tically from year to year, as they are largely funded via their members far greater artistic licence, a fact that many ambitious musicians applications for grants from public sources. The vast majority of ensembles are use to make a virtue of necessity. They find it attractive to pursue their artistic thus active primarily in their home regions while making constant efforts to ex- ambitions individually within freely constituted ensembles. pand their radius of action. Important partners for international projects are frequently the Goethe Institutes in the countries concerned. EARLY MUSIC ENSEMBLES

Because of this dire financial situation, even members of large, internationally re- The history of the historically informed performance of early music in Ger many nowned ensembles are not always able to secure their livelihoods through their dates from 18 September 1954, when Cappella Coloniensis gave its first concert on ensemble work, but must seek outside employment, of which the largest part is period instruments in the Great Broadcasting Studio of what was then North west probably taken up by teaching commitments. Only a few outstanding ensembles German Radio (NWDR) in Cologne. Seated in the audience were the incumbent that appear regularly at the most prestigious festivals and venues worldwide, play president of Germany, Theodor Heuss, and federal economic minister Ludwig Er- be tween 50 and 100 concerts annually and hold a substantial number of other hard, lending the event great political weight. It was not until 21 September 1985 events, such as workshops or outreach projects, offer their members enough to that a similar constellation arose, when Richard von Weizsäcker, in his capacity make ends meet. The close connection between renowned ensembles and festivals as Federal President, delivered a festive address for the Bach, Handel and Schütz is especially important to both parties in this respect. The concert fees that organ- Ju bilee at the Stuttgart International Festival of Music. The ensembles in these per- isers pay to Ensemble Modern and ensemble recherche, for example, are said by formances were the Gächinger Kantorei (likewise founded in 1954) under its direc- these groups to make up at least 50 per cent of their total income. If we add 20 to tor Helmuth Rilling, and the Stuttgart Bach Collegium (founded in 1965), one of the 25 per cent general funding from city, state or federal government and other pro- few early music ensembles that played on modern instruments. Today both Stutt- ject subsidies, we find these formations incomparably better off than the bulk of gart ensembles, headed by Hans-Christoph Rademann, have renamed themselves independent ensembles. Yet even they must struggle with insecurities owing to the Gaechinger Cantorey and take their bearings from the historically informed the relatively small percentage of core subsidies in their overall budget. performance practice established in Germany by the above-mentioned Cappella Coloniensis: the musicians play either on historical instruments or on modern re- If we compare the situation of independent ensembles (whose members are of- constructions and make their decisions on the basis of historical sources, thereby ten personally liable as shareholders of a GbR) with that of orchestras governed creating performances as faithful as possible to the originals. Often the groups pre- by a blanket contract (Tarifvertrag für Musiker in Konzert- und Theaterorchestern, pare editions on their own or in conjunction with musicologists.

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A formative event for Germany’s early music scene was the appearance of Musica tween Gregorian chant and the romantic symphony. It includes not only regionally Antiqua Köln under Reinhard Goebel in 1973, the ﬁrst genuinely independent en- signiﬁcant works that have long passed unnoticed, but also music from other semble to attain worldwide fame. Today the German Music Information Centre European and even non-European countries. lists more than 200 professional early music ensembles in Germany, a broad- based scene of historically informed performance practice that can look back on an im- In this sense, early music has truly arrived in the great concert series and venues. pressive and successful 60-year history. If its style of performance and struggles That it is now present in all areas of musical life, from normal concert opera - with historical instruments initially drew smirks from established ensembles, its tions and festivals to the CD market and radio broadcasts, and at practically every musical standards have long come to equal, and sometimes to far surpass, those of higher education institute, is a fundamental achievement of the ensembles and publicly funded orchestras. In the meantime TVK orchestras have largely delegat- artists who have specialised in this area. In the course of this development, sever- ed baroque music and the early classical repertoire to the early music ensembles al regional hubs have emerged in Germany. Cologne, for example, is sometimes or hire specialists from the early music scene for their own pro grammes. Several called the capital of early music. The Cologne Early Music Society currently has opera houses, including the Berlin State Opera ‘Unter den Linden’, the Karlsruhe 90 active ensembles and musicians in its membership. This density is related to State Theatre and the Magdeburg Theatre, likewise engage specialist ensem- the roles played by Cologne’s University of Music and Dance and by West German bles for their baroque productions or festivals. Early music specialists are also Radio (WDR), which has functioned as a sort of midwife and patron for many hired to conduct at other opera houses or to supply local opera orchestras with ensembles since the 1960s. Every higher education institute where early music is continuo players. cultivated has given rise to corresponding ensembles. This is most impres sively

Left: the Gaechinger Cantorey performing Bach’s St Matthew Passion at the ‘BachBewegt! Tanz!’ festival for children and adolescents. Right: Capella de la Torre apparent in Basel with its Schola Cantorum Basiliensis, which constantly spawns new ensemble activities in its surroundings, many of which lastingly enrich Ger- With its artistic achievements, pioneering spirit and fresh discoveries, the early many’s early music scene. Similarly, nationally successful ensembles stimulate music scene has ensured that the spectrum of today’s musical life has expanded the scenes where they happen to be headquartered, as witness Freiburg and enormously. Early music encompasses the nearly 1000 years of music history be- Berlin.

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But following a heyday that made all of this possible – a period extending well into sue their own musical plans via project grants and obtain greater artistic author ity the 1990s – musicians now face increasingly difficult conditions. The CD market and publicity from the festival context. Hermann Max, for example, bundles his has collapsed; radio has largely withdrawn from its own productions and focuses performances with the Rheinische Kantorei in the Knechtsteden Early Music Fes- on live recordings; moreover, early music ensembles not only augment the offer- tival; Frieder Bernius mounts the Stuttgart Baroque Festival; the Lautten Compa- ings of publicly funded orchestras in today’s concert life, they also compete with gney offers the Aequinox Music Days in Neuruppin; and Andreas Spering presents each other. It was in response to this state of affairs, among other things, that the Germany’s only Haydn festival in Brühl near Cologne. If early music festivals such Cologne Early Music Society was founded in 2011. It now operates the Cologne Ear- as the Göttingen Handel Festival or the Potsdam Sanssouci Festival emerged from ly Music Centre (Zentrum für Alte Musik Köln, or ZAMUS), whose operating costs earlier traditions, there is now a noticeable trend for them to align on particular are partly defrayed by a subsidy from the city and a grant-in-aid from the state of artistic figures or ensembles: the festival orchestra in Göttingen, for example, has North Rhine-Westphalia as well become an ensemble in its own right under Laurence Cummings, and beginning More than 200 professional early music ensem- as foundations and sponsors. in 2019 the new managing director in Potsdam, the recorder player Dorothee Ober- bles can be researched in the databases of the Opened in 2012, ZAMUS is unique linger, will head opera productions on a regular basis with her Ensemble 1700, German Music Information Centre with details in Germany. Not only does it of- hav ing previously directed the Baroque Festival in Bad Arolsen. on their programme emphases and much else. fer its members valuable logistic support in the form of rehearsal Moreover, the scene now abounds in synergies. Festival activities, professorships and office space and instrument loans, it has also become a meeting place for artis- and teaching positions, exclusive ties to labels, ensemble leaderships and solo ap- tic encounters. It is also the site of the annual Cologne Early Music Festival, which, pearances allow performers to build up large spheres of activity and to exploit lacking historical venues, has opened up new performance locations. Much the same can be found in Freiburg in the so-called Ensemble House, which likewise opened in 2012. Here the Freiburg Baroque Orchestra and ensemble recherche have Thehe CaCapepellaa AugAuA uststinanaa pep rfofof rmirmmingg in Auggusuststus-us their headquarters, with rehearsal rooms and orchestral offices. The courses and bururrg Palaaallaacee durdu ingin tht eeB Brührüühü lCl Castle ConC cerrtst workshops of the Ensemble Academy elevate the contacts and interaction between early and contemporary music into a governing principle.

Events, networking and synergies

Today Germany has some 60 festivals of professional stature and nationwide importance that focus primarily on early music.3 They have various funding options for their concerts and must plan their programmes to cover all costs wherever possible. This applies to offerings from Germany’s public broadcasters, such as the Herne Early Music Days (founded by WDR in 1976) or the series ‘Das Alte Werk’ (NDR), as well as such private initiatives as the Regensburg Early Music Days, found ed in 1984 by three former choristers of the Regensburg Domspatzen boys’ choir and now one of the most important festivals of its kind in the world. A number of festivals have arisen directly from the activities of particular ensembles that pur-

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networks almost in the manner of entrepreneurs. Many ensembles at tempt to Unlike the classical-romantic repertoire, early music does not have standard in- establish at least their own concert series, if not entire festivals. The Freiburg strumentations set down in the sources. This applies not only to the size of the Baroque Orchestra mounts three series in Freiburg, Stuttgart and Berlin; the Ber- forces but equally to the combination of timbres. When Cappella Coloniensis lin Akademie für Alte Musik likewise has a series in Berlin and another in Mu- was founded, it took its historical bearings from the Dresden court chapel of the nich. Even a comparatively small ensemble with a specialist medieval repertoire, 18th century. Ensembles employ flexible forces to fit their budget, adding or omit- such as Ensemble Leones in Grenzach-Wyhlen (on the southern border of Baden- ting continuo instruments and reducing or expanding string sections. Even with Württemberg), takes part in the biannual ‘Autumn of the Middle Ages’ Festival in mixed combinations of voices and instruments, as in the Venetian polychoral tra- neighbouring Basel-Binningen. Capella de la Torre runs the Musica Ahuse series dition, vocal parts can be replaced with instruments ad libitum. Sometimes co- in the Swabian-Bavarian town of Auhausen, among other things, and the Elbipolis incidental meetings of artists can play a role: the young north German ensemble Baroque Orchestra is considering establishing an early music festival in Hamburg. PRISMA, for example, consists of recorder, violin, viola da gamba and lute, a combination of instruments for which probably not a single work was ever written. But CD releases continue to be important for early music ensembles. Even if they no one of the cardinal precepts of historically informed performance practice is that longer form a substantial source of income, they contribute to an ensemble’s musical sources must be adapted to suit available resources and artistic ambitions. image and serve as a valuable marketing tool in the acquisition of concert engage- ments, particularly with organisers not involved in the specialist festival scene. Another common speciality is the cultivation of a regional repertoire. The Elbi- CDs then function as programmes for tours and as audio guides to the ensemble’s polis Baroque Orchestra of Hamburg sets its sights on music performed at the repertoire. This applies in particular to smaller ensembles in a chamber format. Gänsemarkt opera house in the 17th and 18th centuries; Cantus and Capella Thurin- Incidentally, such ensembles usually arrange their concerts themselves, whereas gia devote themselves to the music of central Germany and launched the project the (mostly small) agencies active in the early music scene tend to book foreign ‘Thuringia’s Musical Heritage: the sounds of palaces, cities and villages between ensembles with limited knowledge of the German market. Reformation and Enlightenment’, funded by the Thuringian Ministry of Culture. Hofkapelle München attempts to resurrect the musical life of Munich and Bavaria Repertoire between 1600 and 1850 and to promote its historical performance practice – a sub- ject less well established in Bavaria than in Cologne, Freiburg or Berlin. All early music ensembles tailor their activities to a special niche in the repertoire. In the case of Capella de la Torre this happens to be Renaissance wind music, which, In the first decades of the early music movement the main emphasis fell on read- though at first glance a narrow field for aficionados, has enabled the ensemble ings of well-known works by Bach, Handel and Vivaldi in the then novel sound of in the 12 years of its existence to achieve an astonishing breadth of impact with period performance practice. Today the watchword is rediscovery: forgotten works thematic programmes such as ‘Luther’s Wedding Music’, ‘Una Serata Venexiana’ or are presented to the public, thereby creating ‘world premières’ of past music for our ‘Music for the Council of Constance’. Musica Fiata and La Capella Ducale, both of own time. The situation is somewhat different with ensembles whose internation- which have existed since the 1970s, specialise in 17 th-century vocal and instrumen- al radius of action causes them to service a very broad repertoire: Concerto Köln tal music; the Tübingen ensemble Ordo Virtutum cultivates, among other things, recently released new recordings of Vivaldi’s Le quattro stagioni and Bach’s Bran- staged performances of medieval drama. Chorus Musicus and Das Neue Orchester, denburg Concertos – standard works of early music – but pursue the goal of shifting both based in Cologne, present 19th-century oratorios, hiring 50 or more musicians the boundaries of its repertoire toward the 19th century, e.g. with the grandly con- for each performance and mounting such unusual projects as the ‘London version’ ceived and musicologically substantiated plan to perform Wagner’s Ring tetralo- of Brahms’s German Requiem for solo voices, chorus and piano four hands. gy with conductor Kent Nagano. Even the Freiburg Baroque Orchestra, which has

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Research and performance: Ensemble Ordo Virtutum bases its repertoire on their own scholarly examination of the sources. In its Fragmentum project, the ensemble sings from medieval chant codices handed down as scrap paper in the bind- ings of monastic documents.

Fragments of chant codices from the Constance City Archive. Opposite page, top: Ensemble Ordo Virtutum. Bottom: monastic documents from Stuttgart’s Main City Archive

developed a format for general public schools with ‘Zeitmaschine’ (time machine), for which it was awarded the music appreciation prize of the Lower Saxony Spar- surely stretched its capacities almost to the limit with roughly 100 concerts per kasse Foundation and Musikland Niedersachsen gGmbH. The Freiburg Baroque year, proclaims its intent to cover as broad a repertoire as possible, from the early Orchestra, for its part, presents school concerts and workshops for children and baroque to newly commissioned world premières. young people on a regular basis and functions as a patron of the Youth Baroque Orchestra of the State of Baden-Württemberg. The Elbipolis Baroque Orchestra has New concert formats and music appreciation created a ‘baroque lounge’ in which baroque music mingles with an improvising DJ in a club atmosphere. One of the most successful CDs of Berlin’s Lautten Compa- Whether in festivals, private cultural activities or normal concert operations at the gney was Timeless, which juxtaposed minimal music by Philip Glass and composi- municipal level, demand no longer centres exclusively on conventional concert tions by Tarquinio Merula, a contemporary of Monteverdi. programmes, no matter how sophisticated their dramatic structure. Ensembles must now have expanded offerings ready to hand, particularly when it comes to In recent years such hybrids and crossovers of normal concert forms, cultivated grant applications. Almost all ensembles mount lecture-concerts. For years this by early music ensembles not least to develop a market presence, have given rise has been the special forte of Christoph Spering, most recently with the complete to the ﬁeld of concert design. Beginning with the viola player Folkert Uhde, later cycle of Beethoven symphonies at Blaibach Concert Hall. Capella de la Torre has the agent of Berlin’s Akademie für Alte Musik, traditional spatial arrangements

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and programmes have given way to new and sometimes quite radical concepts. this ‘independent scene’. Its very name points to constant changes and a low level This is based on the belief that the traditional 19th-century concert form is in fact of institutionalisation. When ensembles disband, they seldom do so in an official unsuitable to the early music repertoire, and often to the listening habits of today’s manner; far more frequent is de facto termination through inactivity, which may audience. The creation of new offerings is yet another meritorious achievement of result from a lack of financial and artistic options or from the artistic or geographic the independent scene with its flexible ensembles. relocation of their members. Lack of continuity in ensemble work often endangers its stability, but is practically unavoidable, given that ensembles generally form CONTEMPORARY MUSIC ENSEMBLES during the transitional period between the end of studies and the beginning of professional life, and thus The emergence of the first specialist ensembles for contemporary music was in a phase of personal ori- The German Music Information Centre maintains closely connected with the new demands that composers placed on performers entation. It follows that information on some 180 professional contempo- with their music. After a few trial attempts in the early post-war years (e.g. the cities with musical insti- rary music ensembles with their year of foundation, SWR Vocal Ensemble of Stuttgart in 1946), the first great wave of ensemble foun- tutes of higher learning are membership, programme emphases and other facts. dations came about in the early 1980s, including such groups as Ensemble Mod ern preferred locations for the (Frankfurt am Main, 1980) and ensemble recherche (Freiburg, 1985). By the end of launching of new ensembles. This often happens in a context in which present-day the 1990s a nationwide scene of specialist ensembles had arisen for contemporary music, while present and appreciated, exists in a certain institutional vacuum. In music, and the start-ups have continued, if on a lesser scale, in the new millen- the early 1980s, for example, Freiburg was a major centre of contemporary music; nium. Today the German Music Information Centre lists at least 180 professional it could boast of Germany’s first Institute of New Music (the director, Klaus Huber, ensembles in this area. Yet it is impossible to obtain an exact statistical overview of was an internationally acclaimed composer and composition teacher), the presence of other influential composers (such as Wolfgang Rihm and Brian Ferneyhough) and the Experimental Studio of Southwest German Radio (SWR). On the other hand, its performers had no permanent professional formation the size of a chamber ensemble – a drawback remedied by the foundation of ensemble recherche in 1985. The foundation of Hamburg’s Decoder Ensemble in 2012 and Cologne’s ‘hand werk’ ensemble in 2011 took place in similar contexts. Students who were interested in contemporary music, and who knew each other from university projects or other contexts (e.g. the Darmstadt Holiday Courses in New Music), thus formed their own ensembles in order to stabilise and professionalise their work.

Crucially important to the success of ensemble work, especially in the difﬁcult early phases, are institutions or individuals willing, for example, to organise re- cording sessions, arrange for performances or provide rehearsal space without bureaucratic red tape. Besides higher education institutes and master-classes, important meeting places include specialist institutions such as the International En- Members of theh PototsdammC Chamh berb Academy pererffoform-m semble Modern Academy (IEMA), founded in 2003. Since 2006 it has joined forces ing the childreren’ss concecertt ‘Pl‘PP ayaay long Bigg CitCi yyM Melol dy’ with Frankfurt University of Music and the Performing Arts to present a yearlong

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master’s degree programme in contemporary music in which highly qualified woodwind, strings, piano, percussion and, more rarely, brass instruments, guitars young musicians spend fairly long periods together and often continue to do so or electronic sound generators. Still greater is the imbalance between vocal and after the programme has finished. It was just such circumstances that led to the instrumental ensembles: only ten vocal ensembles place their main emphasis on formation of Ensemble Interface in 2011 and the Mobile Beats Ensemble in 2015 - 16. contemporary music, as opposed to far more than 150 instrumental ensembles, of which only a few occasionally incorporate the human voice. These facts dominate Instrumentation and repertoire the widespread image of a typical ‘contemporary music ensemble’ as consisting of a mixed combination of five to 15 instrumentalists. Less prominent ensembles The landscape of contemporary music ensembles can be subdivided by such con- in particular adapt their instrumentation and size to the demands and circum- trasting criteria as number of musicians, choice of instruments, radius of action stanc es of the given performance. or artistic emphases. The distribution by number of musicians seems quite balanced: roughly half of the ensembles have four to ten members, the others consist- A glance at the music history of the past 35 to 40 years shows that the nature of en- ing fairly equally either of duos and trios or groups with more than ten members. sembles and the creation of works of music are mutually related. Ever since the ini- Medium-size ensembles that can be expanded or reduced on a project-by-project tial wave of start-ups, new ensembles have patterned their choice of instruments on basis are thus the rule. Far less balanced are the combinations of instruments. canonic works of modern music, though sometimes in modified form. This applies, Some 40 ensembles with homogeneous instrumentation – including seven string for example, to Ensemble Modern, whose instrumentation was originally aligned quartets, three percussion ensembles and three saxophone quartets – are offset with Schoenberg’s First Chamber Symphony (op. 9), and to ensemble recherche, by more than 120 with mixed forces. The latter include various combinations of

Music theatre, dance, video projects, chamber music, ensemble recitals and orchestra concerts: Ensemble Modern covers a wide range in its projects and works closely with many contem - porary composers.

Left: Re-inventing Smetak. Right: Spectacle Spaces. Opposite page: ChaplinOperas by Benedict Mason 236 237 Independent Ensembles |

ensemble recchherche written for such a speciﬁc combination of instruments cannot be easily taken up by other ensembles.

A general trend toward fragmentation and subdivision in musical life is also reflect ed in the ensembles’ programming policies. Of the groups listed by the German Music Information Centre, roughly 100 concentrate on ‘classical’ modern music. Only some 20 are expressly devoted to the border area with jazz and freely improvised music. Even rarer are overlaps between the contemporary music scene and various categories of so-called ‘light music’ (pop, rock, world music etc.). Nor are mixtures with the classical-romantic repertoire particularly frequent. More typical are concerts devoted exclusively to contemporary music, at once a result and a reinforcement of the (not always fortunate) fragmentation and subdivision which ultimately patterned its instrumentation (flute, oboe, clarinet, violin, viola, of the music industry. In consequence, performances of today’s music continue to cello, percussion and two pianos) on Schoenberg’s Pierrot lunaire (voice, flute, clari- be relegated to the sidelines in special series and festivals instead of becoming a net, violin, cello and piano). Given that a large body of important music was writ- normal part of musical life. Yet the separation between classical and contempo- ten specifically for such leading ensembles (since its inception in 1985, ensemble rary music is also rooted in the nature of the beast: hardly any significant pre-1900 recherche alone has given the world premières of more than 600 works), they also compositions are scored for the mixed combination of instruments typically found exercised an influence on the instrumentation of later ensembles. This is especial- in a contemporary music ensemble. Notable exceptions are hallowed traditional ly true of the scoring of Pierrot lunaire, which has assumed a canonic stature in con- formats such as the string quartet. One example among many is the Cologne- temporary music similar to that of the string quartet in classical chamber music, based Minguet Quartet, which frequently combines classical quartet literature serving as a model for Ensemble Interface, the Talea Ensemble, via nova and other with music of the 20th or 21st century. ensembles. Events, networks and synergies Particularly in a later wave of ensemble start-ups, however, we note different ways of dealing with canonic instrumentations. The Cologne ensemble ‘hand werk’, Networking between concert organisers and ensembles is a mutually profitable for example, decided explicitly in favour of the classical scoring for flute, clarinet, aspect that works to the benefit of many small ensembles, and perhaps even more violin, cello, piano and percussion so as to enable repeat performances of a large so to that of renowned ones. Most groups are mainly active in their home territory, repertoire, thereby counteracting the controversial trend toward a superfluity of where they perform the indispensable task of cultivating the music of composers works heard only at their world premières and never again. Today we can also ob- active primarily in their region while drawing attention to important international serve the opposite: some ensembles deliberately avoid classical scorings so as to developments. For them, collaboration with regional concert organisers is of crucial sharpen their image and promote artistic variety. Some unusual but highly suc- importance, for it enables them to appear regularly in established concert series cessful formations, such as the Stuttgart-based ensemble ascolta (trumpet, trom- and thus to achieve continuity in their ensemble work. At times we also find co- bone, two percussionists, piano/sampler, cello/electric cello, guitar/electric guitar/ operation between various regional concert organisers, with the goal of presenting electric bass), which has premièred more than 250 works since its foundation in programmes from three to at most ten times each at different locations. Also im- 2003, spawn repertoires of their own. However, this courts the danger that works portant for the continuity of an ensemble’s work and its visibility to the outside

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world are regular concert venues and series. The Freiburg-based Ensemble Aven- its perception as a normal part of today’s musical culture. Similarly, the various ture, for example, gives its Freiburg performances exlusively in the rooms of the training and advanced education projects of internationally renowned ensembles Elisabeth Schneider Foundation. The independent ensembles working in Dres- in particular form an essential part of their work. Whether in master classes at the den under the umbrella organisation Klangnetz mount a joint thematic concert Darmstadt Holiday Courses, the Impulse Academy in Graz or in various types of series for which the German Museum of Hygiene serves both as a partner and a self-developed programmes, musicians can pass on their experience to composers venue. and instrumentalists who are still studying.

If most small ensembles are rarely if ever invited to major festivals, the tight net- Other important developments in recent years involve an increasingly natural working of renowned ensembles and festivals is important in both directions. This handling of electronic media and reflections on the concert format itself. Not only becomes apparent from a quick analysis of festival programmes with an eye to is there a growing use of electronic sound production (live electronics, pre-recorded the question: which ensembles have appeared at major festivals over the last ten sound, electronic instruments etc.), visual media such as video and light shows to 15 years? It transpires that, in most cases, roughly half the programmes are giv- have also increasingly found their way into concert formats. This development has en to ensembles invited at regular intervals. Between 2003 and 2016 Ensemble resulted not least from the fact that new technologies have become more afford- Modern appeared five times at the Donaueschingen Festival, MusikFabrik four able and simpler to use, even if expenses are usually still so high that many small times, Klangforum Wien six times and the SWR Vocal Ensemble of Stuttgart (the organisers and ensembles find them prohibitive. In short, the spread of digital me- organiser’s own ensemble) eight times. The Witten Festival of New Chamber Music dia is still far from ubiquitous. Here it is especially the large concert organisers featured Klangforum Wien six times between 2001 and 2017, the Arditti Quartet who proceed along these lines, as well as younger ensembles who attach a certain 11 times and ensemble recherche 12 or 13 times. Much the same holds true of Ber- priority to this aspect, for the enhanced used of electronic media is gener ally not lin’s Ultraschall Festival. an end in itself but an expression of a quest for artistic currency. At times habitual borrowings from pop music can be observed, as in Hamburg’s Decoder Ensemble, Programming and outreach which calls itself a ‘band for contemporary music’.

Given the impressive aesthetic multiplicity and programme variety that have long Today’s art should incorporate today’s technology. This firm belief is often com- been typical of the independent scene, various trends in the form and contents of bined with reflections on the concert format and a critique of conventional forms musical presentations have become noticeable over the last five to ten years. For of presentation which originated in the bourgeois 19th-century concert, and which example, outreach initiatives have become increasingly widespread and common- many musicians consider obsolete. Of the various efforts to change the concert place. Virtually all ‘great’ ensembles have long participated in or developed their framework, two are particularly worthy of note. First, for several years there has own education programmes. Many ensembles working on a smaller scale have been an increasing turn towards the performative, where everyday objects are also made cultural outreach (e.g. in schools) an important part of their work. Giv- employed in addition to classical instruments, the performance space is incorpo- en the realisation that encounters with present-day music become more natural rated in the presentation and at times the boundary with theatre or performance through continuity, the communicative aspect should not be overlooked even in art is overstepped. Second, there has been a trend toward staged and/or curated formats that do not expressly emphasise communication as such. Offerings such concerts, where pieces are co-ordinated thematically, joined together beneath as the Ensemble Modern’s subscription series in the Frankfurt Alte Oper, which has overriding spatial or lighting concepts or even linked by musical or performative presented the latest works and developments on a regular basis since 1985, have transitions, producing an overall process with the aim of creating cohesive events quite obviously contributed to the greater acceptance of contemporary music and rather than a loose succession of pieces.

240 241 Independent Ensembles |

FUTURE PERSPECTIVES 1 See the definition proposed by FREO (Freie Ensembles und Orchester), an initiative founded by nine ensembles, at Independent ensembles have become an integral part of Germany’s musical http://www.freo.online/warum-freo (accessed on 25 June 2018). landscape. All in all, each scene can be viewed as established and can look back on 2 See Fig. 2 in Gerald Mertens’s essay ‘Orchestras, radio ensembles a substantial tradition and evolution. Nonetheless, their (economic) situation con- and opera choruses’. tinues to pose a wide range of challenges. Insufﬁcient or non-existent institutional 3 See the German Music Information Centre’s database at support, competition for underfunded grant programmes and other difﬁculties http://www.miz.org/institutionen/musikfestspiele- frequently lead to working conditions that are problematical if not precarious. But festwochen-festivals-s49. the freedom afforded by ensemble work is at once a curse and a blessing. Owing to their lean organisational structures, shared responsibilities and democratic decision-making processes, independent ensembles are virtually predestined to be an engine for musical evolution. They stimulate the emergence of new works, formats and debates no less than the rediscovery of forgotten music and fresh views on the seemingly familiar. Safeguarding and improving their working conditions is a critical prerequisite if ensembles are to keep up with this task in the future. The founding of Musikfonds in 2016 (a nationwide grant programme for contemporary music) and the interest group FREO (Freie Ensembles und Orchester in Deutschland) in 2018, with the aim of improving working conditions in the independent scene, are important but only initial steps in the right direction.

Richard Lorber is a music journalist and moderator active at the Western Broadcasting Corporation since 1988, with a focus on early music and opera since 1996. He is the artistic director of the Early Music Days in Herne.

Tobias Eduard Schick studied composition with Mark Andre, Ernst Helmuth Flammer and Manos Tsangaris and wrote a doctoral dissertation on the music of Matthias Spahlinger. He lives and works in Dresden.

242 243 MusicAl life in Germany

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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