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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
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328328
A percussion workshop at the Darmstadt Holiday Courses, 2012
Contemporary musiC
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.
12
Kapitel |
329329
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An open-house festival (left) and the dance event ‘Floor on Fire
– Battle of Styles’ (right) at Hellerau, European Centre of the
Arts in Dresden
| Stefan Fricke
CONTEMPORARY MUSIC
The infrastructure of contemporary music in Germany is
remarkable for its di-versity. The very number of German synonyms
for the ‘serious’ music of the last 100 years, as well as its
performance and publication, suffices to convey an initial
impression: contemporary music, music of the 20th and 21st
centuries, modernist music, musical modernism, music of our time,
present-day music, avant-garde music, new music, New Music, newest
music: all these and many more have their current German
equivalents. The wide range of terms, most of them coined by
journalists or concert organisers, has been augmented over the
years by more in-clusive concepts such as sound art (Klangkunst),
audio-visual art, performance art, audio art, radiophonic music,
ars acustica and music on the Web. The associa-
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Contemporary Music |
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 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, which vacillates between established
jazz and the ‘serious’ avant-garde, and to so-called new music
theatre, which has parted company with narrative opera and drawn a
large following since the 1990s. In short, contemporary music is
nei-ther a stable and sharply defined concept, nor does it point to
a precisely demar-cated aesthetic terrain. Rather, it designates a
remarkably broad and varied range of acoustical creations, both of
today and of recent decades, as well as a multi- layered, open-
ended and increasingly inclusive scene that has thrived chiefly on
the spirit of ‘serious’ music – until now, at any rate. For the
boundaries separating contemporary art music from established forms
of popular music and jazz, which 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 cultur-al
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 their previous
subsidisation in this area in response to the ‘New Music Net-work’
project (Netzwerk Neue Musik) initiated by the Federal Cultural
Founda-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.
another subsidisation tool for contemporary Klangkunst at the
initiative of the Federal Government Commissioner for Culture and
the Media, with a current en-dowment of some €2 million. Moreover,
for several years a growing number of private and public
foundations have taken up the cause of contemporary music. Yet the
public broadcasting companies, until now the reliable bastions of
funding for Germany’s contemporary music, have considerably reduced
their commit-ment compared to 20 or 30 years ago, particularly as
regards the funding of their own events.
In sum, the present state of Germany’s contemporary music is
ambivalent. On the one hand, there is a steadily growing number of
composers, performers, musicolo-gists, producers and journalists in
this area, not to mention a constantly expanding audience with a
keen interest in present-day forms of musical expression and a
readiness to engage with them at a high level. On the other hand,
this upsurge in artistic creation and reception is often hamstrung
by shortages of funds.
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Contemporary Music |
CONCERT AND FESTIVAL LANDSCAPE
Public radio
Germany’s publicly funded broadcasting companies, virtually
every one of which has a separate department for new music, are a
driving force behind the great diversity of Germany’s contemporary
music, whether in its creation, distribution or propagation. Here a
major role is played by the broadcasters’ own musical for-mations
(orchestras, choruses and in some cases big bands), some of which
are deeply committed to the music of our time. In addition, since
1971 South-western Broadcasting Corporation (Südwestdeutscher
Rundfunk, or SWR) in Freiburg has operated its own Exper imental
Studio, developing and implementing (live) elec-tronic works under
laboratory conditions in a co-operative effort between com-posers
and studio engineers. The annual Donaueschingen Festival, founded
in 1921, is not only the world’s oldest festival of contemporary
music, but one of the most prestigious in the world. Since the
early 1950s it has been supported mainly by the SWR in co-operation
with the city of Donaueschingen and other partners. An-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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Where can contemporary music be heard in Germany, and what are
its underlying structures?
The German Music Information Centre presents systematic facts
and figures in its ‘New Music’ portal, providing access to:
>> Specialist ensembles and festivals >> Archives
and research facilities >> Competitions, scholarships and
prizes with current invitations to apply >> Professional
associations and societies >> Foundations and other
promotional institutions
festivals and concert series of their own, such as the
Ultraschall Festival in Berlin, mounted jointly by Deutschlandfunk
Kultur and Radio Berlin-Brandenburg (rbb) 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 broad-casts, 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 broad-casters’ 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 audiences.
FACTS & FIGURES
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Poised at the institutional crossroads of creation and
distribution of their own 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
other sources (live concert recordings, productions with freelance
ensembles, new-ly commissioned works including electronic music and
radio plays, essays and re-ports by freelance writers), it is
impossible to overstate their importance, at least 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 amount of broadcast time for contemporary music while
others have cut it back. In any event, there is much less
contemporary music to be heard in day-time broad-casting compared
to a few years ago.
Municipalities, states, federal government
Almost every major German city, as well as many smaller cities
and communities, has highly regarded festivals, concert series
and/or initiatives for contemporary 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
William Kentridge’s The Head and the Load at the Ruhr Triennale,
2018
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Concerts, performance events, music theatre: Stuttgart’s ECLAT
Festival of New Music seeks to engage with other art forms.
Brigitta Muntendorf’s iScreen, YouScream! (left) and Gerhild
Steinbuch’s friendly fire (right), both performed at the 2017 Eclat
Festival. Opposite page: Annelies Van Pary’s Private View
(2015)
and cities. Some are short-lived; others have existed for years
and become institu-tions in their own right. Still other
large-scale events, such as Berlin’s two Klang-kunst retrospectives
of 1996 and 2006 under the title ‘sonambiente’, or Sound Art in
Karlsruhe’s Centre for Art and Media (ZKM, 2012-13), focused
exclusively on expand ed concepts of music and art, thereby
transcending the bounds of normal festival operations. Sometimes
contemporary music is integrated in community festivals, music
festivals or concert series, where it forms a programming highlight
along side other forms of music, as at the International Beethoven
Festival in Bonn.
Music festivals with a regional slant, some of which are for the
most part privately funded (Schleswig-Holstein Music Festival,
Rheingau Music Festival), often place contemporary music on their
programmes, sometimes with brand-new creations standing side by
side with earlier music. The same applies to the Berlin Festival or
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-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-temporary music in a wide range of towns and cities usually owe
their existence
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to a single benefactor or association and frequently have a hard
time making ends meet. Nonetheless, there have been some instances
of stabilised or newly founded festivals. One is MaerzMusik (known
since 2014 as a ‘Festival for Current Issues’), which is funded by
the federal government and has been mounted in Berlin since 2002 as
part of the Berlin Festival. Another is mikromusik, a festival of
experimen-tal music and sound art organised since 2014 by the
Berlin chapter of the German Academic Exchange Service (Deutscher
Akademischer Austauschdienst, or DAAD) 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 programmes, places an emphasis on contemporary music
and provides a natural platform for local composers, performers and
sound artists. This tempo rary coales-cence of established
institutions (Cologne Philharmonie) and the independent scene
should function as a model for other municipalities.
Orchestras, independent ensembles, music theatre
Besides the ensembles associated with public broadcasters,
Germany’s other pub-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-porary music are given by some 180 independent specialist
ensembles based in
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Ensemble Musikfabrik, whose projects often combine music and
performance art
Germany. Despite this impressive and aesthetically
forward-looking commitment, very few of these ensembles are able to
work on a more or less solid financial foot-ing. Among these at
present are Ensemble Modern (Frankfurt am Main), Ensem-ble
Musikfabrik (Cologne), ensemble recherche (Freiburg im Breisgau),
Ensemble Mosaik (Berlin) and Neue Vocalsolisten (Stuttgart). Yet
even these groups, none of 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
international stature. One clear indication of Germany’s vibrant
musical landscape is the growing number of new ensembles, though
this should not blind us to the dire pecuniary straits prevailing
amongst most of them (see Richard Lorber und Tobias Schick’s essay
‘Independent Ensembles’).
Of the 83 publicly funded music theatres in German cities, quite
a few have recent-ly taken up (or returned to) the cause of
contemporary music, whether with their own productions, new
commissions or the development of independent formats and
competitions (e.g. the Deutsche Oper in Berlin). Indeed, modern
operatic mas-terpieces and contemporary music theatre are currently
undergoing a renaissance in myriad forms, great and small. This is
particularly true of the independent scene, which, however, is left
to its own devices in the funding of its innovative produc-tions
and must create its own temporary infrastructure, such as rehearsal
space
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and performance venues. A major cornerstone for the growing
attraction within this scene, and its popularity with the audience,
is the Munich Biennale, founded by the composer Hans Werner Henze
in 1988.
PUBLISHERS AND ARCHIVES
Germany’s public radio companies report regularly on
contemporary music in their broadcasts, some devoted entirely to
new music. Articles on contemporary music also appear regularly in
the arts pages of Germany’s daily newspapers, al-beit in decreasing
frequency and length. Apart from these, the subject is chiefly
discussed in specialist journals that report mainly or exclusively
on new music.
Among these are Neue Zeitschrift für Musik (founded in 1834,
published bimonthly in Mainz), MusikTexte (founded in 1983,
quarterly, Cologne), Positionen (since 1988, quarterly, Mühlenbeck
near Berlin), Musik & Ästhetik (founded in 1997, quarterly,
Stuttgart) and Seiltanz (since 2010, semi-annually, Berlin). Some
of these journals, such as Neue Zeitschrift für Musik (NZfM),
maintain their own up-to-date internet portals. Moreover, several
web magazines interested in contemporary music have formed in
recent years, some free of charge, others for a fee. Examples
include Van – Webmagazin für klassische Musik (web magazine for
classical music) and faust-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-cieties, concert organisers or other institutions,
others by private individuals. Espe-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 initia-tives 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 pre-sent), 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
recent publications on this topic are the reference works Sound des
Jahrhunderts (Sound of the century), published by the Federal
Agency of Civic Educa tion in Bonn, and Lexikon Neue Musik (Kassel:
Bärenreiter; Stuttgart: Metzler, 2016).
Among Germany’s large publishing houses with a longstanding
interest in is-suing sheet music of modern works – or those with a
subsidiary in Germany – are Bärenreiter (Kassel), Boosey &
Hawkes/Bote & Bock (Berlin), Ricordi (Berlin), Schott (Mainz),
Sikorski (Hamburg), Breitkopf & Härtel (Wiesbaden) and Edition
Peters (Leipzig). In addition there are a number of smaller
publishers committed to con-temporary music, such as Edition
Juliane Klein (Berlin) and Furore (Kassel), the lat-ter
concentrating exclusively on women composers. But many composers
tend to publish their scores themselves or place them on their
websites for downloading free of charge. Among publishers of books
on contemporary music, special men-tion should be made of Pfau
(Friedberg), Wolke (Hofheim im Taunus), transcript (Bielefeld) and
Kehrer (Heidelberg), which specialises in writings on Klangkunst.
In contrast, Germany’s large literary and non-fiction publishers
rarely carry books on contemporary music, just as its
wide-circulation popular magazines rarely report on it.
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Contemporary Music |
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Turning to the recording industry, the leading German labels
devoted partly or en-tirely to contemporary music include Wergo,
Cybele Records, Edition Zeitklang, edi-tion RZ, Maria de Alvear
World Edition, gruenrekorder, Edition Telemark, Coviello and Winter
& Winter. Moreover, the German Music Council has its own CD
series, Edition Zeitgenössische Musik (Contemporary Music Edition),
which has issued over 100 portrait CDs of German composers, male
and female, on the Wergo label since 1986. Two or three portraits
are added to the series every year. The composers, all younger than
40, apply for inclusion themselves and are then selected by a panel
of experts specially appointed by the German Music Council. The
choice of works on the CD and the contents of the accompanying
booklet are left to the discretion of the composers themselves.
Another CD series sponsored by the German Music Council is Musik in
Deutschland 1950–2000 (Music in Germany from 1950 to 2000), a set
of over 130 CDs documenting the evolution of contemporary music in
both German states (the German Democratic Republic and the Federal
Republic of Ger-many) up to 1990 and in reunited Germany up to the
turn of the century. It was released by Sony Music and reached
completion in 2010.
A major archive specialising in contemporary music is the
Darmstadt Interna-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 preserved a unique collection of several thousand
digitalised audio, visual and tex-tual documents from Darmstadt’s
International Holiday Courses in New Music, organised by the IMD
since 1946. All the holdings are accessible free of charge on line
in digitised form. Equally important is the Hellerau European
Centre of the Arts, which maintains the German Composers Archive
and has collected the posthumous papers of composers since 2005.
Darmstadt is also the home of the Jazz Institute with its large
specialist research archive on improvised music. In ad-dition
several academies, such as the Berlin Academy of the Arts, preserve
large collec tions of posthumous papers by various modern-day
composers, performers and musicologists. There also exist archives
and research centres specialising in particular musical figures,
such as the Hindemith Institute in Frankfurt am Main (since 1974).
Finally, the audio archives of Germany’s public broadcasting
compa-nies – as well as the German Broadcasting Archive (Deutsches
Rundfunkarchiv), which these companies maintain in Frankfurt am
Main and Potsdam-Babelsberg – preserve a gigantic treasure-trove of
recordings and productions of contemporary works as well as
interviews with performers, composers and musicologists.
TRAINING AND EDUCATION
Many activities associated with contemporary music take place at
Germany’s 24 musical institutes of higher learning
(Musikhochschulen). All of these have de-gree programmes in
composition, and some offer a degree in electronic or electro-
acoustical music. Many now also have their own institutes or
studios of contempo-rary music that sometimes operate independently
of the curricula of other courses of study and explore modern-day
aesthetic concepts as both as discrete courses of study and
elements in cross-departmental discourses.
A comparison of these institutions reveals sharp contrasts in
their emphasis on contemporary music, which depends greatly on the
commitment of the institu-tion, its teaching staff and, of course,
its students. As a result, centres of contempo-rary music at the
university level can vary greatly over time. Contemporary music is
also taught at a few public music schools, one being the Rhenish
Music School in Cologne. However, Germany does not have a
tertiary-level musical institute that focuses its curriculum
exclusively on contemporary music. Nor is there a depart-
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ment of musicology at a German university that devotes its
teaching and research entirely to this subject. That said, since
2006 the International Ensemble Modern Academy (IEMA) and the
Frankfurt University of Music and the Arts have jointly of fered a
one-year master’s programme in contemporary music. Since 2013
Frank-furt University of Music has also maintained a professorship
in ‘Performance and communication of contemporary music’. Indeed,
other German musical institu-tions of higher learning, including
those in Cologne, Munich and Stuttgart, have recently acknowledged
the importance of contemporary music and the need to train students
in it, and have introduced master’s degree pro grammes accordingly.
The same applies to the teaching of musicology at the university
level. Specially equipped professorships in present-day music can
be found in the musicology de-partments of the universities in
Cologne, Würzburg and Frankfurt am Main, with the latter notably
including Klangkunst. For a good three decades students have shown
increasing interest in contemporary music, as is evident in the
growing number of dissertations and theses in this field.
Special degree programmes in Klangkunst installations and
audio-visual art have been established inter alia at the Academy of
Media Arts Cologne, Braunschweig 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-gramme in
‘sound studies’, introduced at Berlin University of the Arts in
2002, not only promotes the training of freelance sound artists, it
also teaches acoustic pos-sibilities and forms of participation
that can be utilised in business and industry. Similar projects at
many tertiary-level academic institutions probe the rela tions
between contemporary music and architecture, sound design, sound
art and radio art on a practical and/or theoretical basis, examples
being the University of Tech-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
likewise strongly committed to interdisciplinary training in the
arts, among which contemporary music is firmly anchored.
Germany attaches special importance to electronic and
electro-acoustical music. In the 1950s and 1960s several electronic
music studios were founded at public broad-casting companies and
institutes of higher learning. Some of these facilities have ceased
operations, only to be followed by new or newly refurbished ones.
Although
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Exchange, advanced training, presentation: the contemporary
music scene has been gathering at the Darmstadt Holiday Courses
since 1946.
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Contemporary Music |
The Darmstadt Holiday Courses from 2010 to 2016. Left: Atelier
Elektronik. Right: a percussion workshop performing ‘c’ by Stefan
Løffler.
Opposite page, top: a guest performance by the Curious Chamber
Players.Middle: a concert in the temporary concert hall
‘StageCage’.
Bottom left: action avec son obligé by Georges Aperghis. Bottom
right: a workshop
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 expe-rience 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
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facility is the Darmstadt Institute of New Music and Musical
Education (Institut für Neue Musik und Musikerziehung, or INMM),
which has held multi-day wor-king conferences on the propagation of
aesthetic and educational positions in con-temporary music every
year since 1946. There are also several initiatives devoted to
children and young adults, such as the composition classes for
children at the Handel Conservatory in Halle (since 1976), the
composition courses for children 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-jects
introduced in various regional branches of the German Music Council
and, since 1986, the national composers’ competition held by the
German branch of ‘Jeunesses musicales’ in Weikersheim.
ASSOCIATIONS, SOCIETIES, INITIATIVES
Established in 1922, the German chapter of the International
Society for Con-temporary Music (ISCM) – the Gesellschaft für Neue
Musik (GNM) – is the oldest and largest umbrella organisation for
all persons and groups interested in con-temporary music in
Germany. Its members include private individuals from a very wide
range of professions as well as several institutions and companies
(e.g. radio stations, concert halls, professional associations and
publishers). In various cities and regions the GNM has so-called
regional groups actively involved in promot-ing contemporary music
in concerts and round-table discussions on issues of aesthetics and
cultural policy. Another member of the GNM is the German So-ciety
for Electro-Acoustical Music (Deutsche Gesellschaft für
Elektroakustische Musik, or DEGEM), whose members come from the
field of electronic and electro- acoustical music, and which issues
its own CD series and maintains its own web radio. The GNM is in
turn a member of the German Music Council, which it ad-vises in
matters involving contemporary music. Moreover, the GNM or one of
its members has organised the annual ISCM World New Music Days in
Germany on several occasions, beginning in Frankfurt am Main in
1927 and most recently in Stuttgart in 2006.
All in all, the number of societies and initiatives involved
with contemporary music in Germany is very large and spread over
many cities and regions. Many are active locally or regionally;
others, such as the GNM, are for the most part
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nation wide or international in scope. Several of these varied
initiatives have been short-lived, while others are continually
springing into existence, often with fresh concepts and ideas. In
the final analysis, contemporary music, like any other present-day
art form, is not a static construct but one in a constant state of
flux, as are the undertakings associated with it, which are almost
always based on private initiatives.
In 2012 the New Music Network (Netzwerk Neue Musik) was formed
in Baden- Württemberg, gathering together the state’s many
institutions and ensembles in order to promote contemporary music
on a collaborative basis and to carry out joint projects. In 2015
the Contemporary Music Theatre Initiative was formed in Berlin,
creating an aesthetic, organisational and debate platform for the
rapidly growing scene of independent music theatre, which currently
faces the great chal-lenge of finding a long-term foothold.
PRIZES, SCHOLARSHIPS, GRANTS
Like other forms of artistic expression today, contemporary
music in Germany has many prizes, scholarships and grants as well
as temporary artist- or composer- in-residence positions, which are
often publicly advertised. This is not the place to list them all,
particularly as many have had to be abandoned while others are aris
ing to take their place. Detailed information on them can be
obtained from the German Music Information Centre, especially via
its calendar of applications (Aus-schreibungskalender), which
offers a full overview of various forms of financial assistance in
Germany’s contemporary music scene. Contemporary music projects
generally receive assistance (with financial or equivalent means)
from public in-stitutions and facilities within the framework of
their respective statutes. These include the Federal Cultural
Foundation (Halle an der Saale); the Centre of Art and Media in
Karlsruhe (ZKM), which awards working scholarships; Germany’s
per-formance rights organisation, the Gesellschaft für musikalische
Aufführungs- und mechanische Vervielfältigungsrechte (GEMA), which
awards the German Music Author Prize; the Karl Sczuka Prize for
Acoustic Art, awarded by the South- western Broadcasting
Corporation (SWR); the Reinhard Schulz Prize for Contem-porary
Music Journalism, based at the International Music Institute in
Darmstadt; and the Young Author Forum of Musik Texte, likewise
aligned on writings about
-
348
contemporary music. Fortunately, other major scholarships and
grant pro grammes have arisen in recent years. One, sponsored by
the Berlin Senate, may well func-tion 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 various cultural foundations sponsored by German
business firms (e.g. Aventis, Allianz and Deutsche Bank) and
private foundations (e.g. the Ernst von Siemens Foundation for
Music).
CONCLUSION
Contemporary music in Germany no longer leads a wallflower
existence. The number of people in Germany interested in listening
to and critically engaging with topical, progressive and subtle
creations of acoustical art has steadily grown. 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.
349
Contemporary Music |
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.
Granted, the socio-economic infrastructure of Germany’s
contemporary music scene is neither desolate nor underdeveloped.
But contemporary music has al-ways been a delicate matter, and
invariably requires the utmost in attention, 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 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. While there is no
question that Germany remains a ‘land of music’, it is also a
lead-ing nation in the international field of contemporary music –
a fact that must be conveyed to society and its (cultural)
politicians more forcefully than hitherto.
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.
-
2
This publication has been made possible by the kind support of
the Minister of State for Culture and the Media.
The German Music Information Centre is supported by:
The translated version of this publication was made possible by
the kind support of Hal Leonard Europe GmbH.
3
First edition, Bonn, March 2019 (German) and December 2019
(English)
PublisherGerman Music CouncilGerman Music Information Centre
Editorial office Stephan Schulmeistrat, Dr Christiane
Schwerdtfeger
Picture editor Dr Karin Stoverock
Editorial assistants Tobias Meyer, Christiane Rippel, Timo
Varelmann
AuthorsProf. Dr Hans Bäßler | Prof. Dr Michael Dartsch | Dr
Heike Fricke | Stefan Fricke | Barbara Haack | Prof. Christian
Höppner | Prof. Dr Arnold Jacobshagen | Hans-Jürgen Linke | Dr
Richard Lorber | Prof. Dr Julio Mendívil | Gerald Mertens | Dr
Reiner Nägele | Prof. Dr Ortwin Nimczik | Dr Martina Rebmann | Dr
Astrid Reimers | Prof. Dr Karl-Heinz Reuband | Dr Tobias Eduard
Schick | Prof. Dr Dörte Schmidt | Prof. Dr Holger Schramm | Prof.
Dr Wolfgang Seufert | Benedikt Stampa | Prof. Dr Johannes Voit |
Prof. Dr Meinrad Walter | Prof. Dr Peter Wicke | Prof. Dr Franz
Willnauer
AdvisersDr Jürgen Brandhorst (GEMA Foundation) | Prof. Dr
Andreas Eckhardt | Dr Tilo Gerlach (Collecting Society for
Performance Rights, GVL) | Prof. Reinhart von Gutzeit | Bernd
Hawlat (German Broadcasting Archive, DRA) | Elisabeth
Herzog-Schaffner (German Musicians’ Association, DTKV) | Prof.
Christian Höppner (Ger-man Music Council) | Prof. Dr Joachim-Felix
Leonhard, State Secretary ret. | Elisabeth Motschmann, MP | Stefan
Piendl (German Music Council) | Prof. Dr Wolfgang Rathert (LMU
Munich) | Dr Martina Rebmann (Berlin State Library – Prussian
Cultural Heritage Foundation) | Prof. Dr Dörte Schmidt (Berlin
University of the Arts) | Dr Heinz Stroh (German Music Publishers
Association, DMV) | Antje Valentin (State Music Academy of North
Rhine-Westphalia) | Prof. Wolfgang Wagenhäuser (Trossingen
University of Music) | Prof. Dr Robert von Zahn (State Music
Council of North Rhine-Westphalia)
Translation: Dr Bradford J. Robinson Proofreading: Susanna
Eastburn, Keith Miller
A publication of the German Music Information Centre
MusicAl lifein Germany
-
4
NoteThe present volume is an English translation of the
German-language publication Musikleben in Deutsch-land, which
appeared in March 2019. The editorial deadline for the German
edition was 30 September 2018; information published after that
date has been taken into account wherever possible and meaningful.
All the information has been obtained and checked with maximum
care. Nonetheless, neither the German Music Council nor the German
Music Information Centre can assume liability for its accuracy.
Readers are invited to send all questions and comments regarding
the contents to
German Music Council German Music Information CentreWeberstr.
5953113 BonnGermanyPhone: +49 (0)228 2091-180, Fax: +49 (0) 228
2091-280 [email protected]
imprint© 2019 German Music Council / German Music Information
Centre
Managing Director of the German Music Council: Stefan
PiendlDirector of the German Music Information Centre: Stephan
Schulmeistrat
All rights reserved. This work, including every section
contained within it, is protected by copyright. Any use beyond the
narrow limits of copyright regulations without the previous consent
of the publisher is prohibited and punishable by law. This applies
in particular to mechanical reproduction, translation, micro
filming, and electronic storage and processing.
Production: ConBrio Verlagsgesellschaft mbH, RegensburgPrinting
and binding: druckhaus köthen GmbH & Co. KG, KöthenMaps: Silke
Dutzmann, LeipzigArtwork and design: SINNSALON Reese, Design für
Kommunikation, HamburgLayout and typesetting: Text- &
Graphikbüro für Kultur Birgit A. Rother, Werther (Westf.)
ISBN 978-3-9820705-1-3
616
Picture creditsWe wish to express our gratitude to all those
persons and institutions that generously placed pictorial material
at our disposal. Without their support this multifaceted view of
‘Musical Life in Germany’ would not have been possible.
Unless otherwise indicated, picture credits on pages with more
than one photograph occur line by line from left to right.
Page Copyright
50/51 © Oliver Borchert53 © BMU-Archiv56 © Aaron Grahovac-Dres58
© Oliver Borchert
Ch. 2 | Music in Germany’s State Education SystemPage
Copyright
61 © Richard Filz67 © Oliver Borchert70/71 © Gerold Herzog74/75
© Anja Albrecht
Page Copyright
5 © Veronika Kurnosova8/9 © Annette Börger10/11 © MDR/Marco
Prosch12/13 © Heiko Rhode14/15 © Hartmut Hientzsch
Page Copyright
16/17 © Claus Langer/WDR18/19 © Silvia Hauptmann20/21 Melt
Festival © Stephan Flad22 © Elke A. Jung-Wolff
Page Copyright
30/31 © Tobias Döhner/www.folklang.de32 © Lea Letzel 34 © Jan
Krauthäuser35 © Vera Lüdeck (left) | © Heiko Rhode (top right)
|
© Landesakademie für die musizierende Jugend in
Baden-Württemberg/Foto: Steffen Dietze (bottom right)
Ch. 1 | Introduction: Musical Life in GermanyPage Copyright
36 © Geoffry Schied | © Silverangel Photography | © Martin
Sigmund | © ICS Festival GmbH
39 © Claudia Höhne | © Benjamin Krieg40 © Eliane Hobbing44/45 ©
JeKits-Stiftung47 © Hans Jörg Michel
Page Copyright
80/81 © Volker Beushausen für LMA NRW82 © JMD85 © Jessica
Schäfer86 © VdM/Heiderich90 © VdM/Foto: Kai Bienert | © VdM91 ©
VdM
Ch. 3 | Music Education Outside the State School SystemPage
Copyright
93 © JeKits-Stiftung95 © Bo Lahola100/101 © Erich Malter 104 ©
Landesakademie für die musizierende Jugend
in Baden-Württemberg/Foto: Steffen Dietze
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
Back cover: the roof of the Elbphilharmonie in Hamburg. ©
www.mediaserver.hamburg.de/Maxim Schulz
-
Picture credits |
617
Page Copyright
108/109 © Emile Holba111 © MDR/Stephan Flad112 © Michael Habes |
© Jörg Baumann113 © Michael Habes114 © Siegfried Westphal118 ©
Niklas Marc Heinecke | © Holger Talinski
Ch. 4 | Music CommunicationPage Copyright
119 © Stefan Gloede | NDR/Foto: Micha Neugebauer | © Bayerische
Staatsoper/Wilfried Hösl |© Ursula Kaufmann/NTM
120 © Stefan Gloede124/125 © Netzwerk Junge Ohren/Oliver
Röckle126 © Koppelstätter Media
Page Copyright
130/131 © Thorsten Krienke133 © Sonja Werner Fotografie | ©
Christian Kern134 © Heike Kandalowski139 © Photo Proßwitz (top
left) | © Torsten Redler
(bottom left) | © Thorsten Dir (right)143 © Robert Schumann
Hochschule/S. Diesner
Ch. 5 | Education for Music ProfessionsPage Copyright
145 © Frank Beyer (top, middle, bottom left) | © Thorsten
Krienke (bottom right)
151 © Lutz Sternstein156 © Kai Bienert | Pedro Malinowski157 ©
Aldo Luud
Ch. 6 | Amateur Music-MakingPage Copyright
160/161 © Notenspur Leipzig e.V./Foto: Daniel Reiche162 ©
Notenspur Leipzig e.V./Foto: Daniel Reiche166 © EPiD167 ©
EPiD/Foto: Marianne Gorka |
© EPiD/Foto: Hartmut Merten169 © DCV/Alex Zuckrow | © DCV/Rainer
Engel172 © Jan Krauthäuser
Page Copyright
175 © Bertram Maria Keller (top) | © Rebecca Kraemer (middle) |
© Heiko Rhode (bottom)
176 © Volker Beurshausen für LMA NRW178 © Bundesakademie
Trossingen/Nico Pudimat179 © Landesakademie für die musizierende
Jugend
in Baden-Württemberg/Foto: Steffen Dietze180/181 © Jan Karow185
© Jan Krauthäuser
Page Copyright
188/189 © Peter Adamik191 © Matthias Creutziger192 © Markus
Werner193 © Marian Lenhard194/195 © Peter Meisel (BRSO)198 © Stefan
Höderath199 © Hans Engels202 © Ufuk Arslan
Ch. 7 | Orchestras, Radio Ensembles and Opera ChorusesPage
Copyright
205 © Susanne Diesner | © Jan Roloff207 © Gert Mothes208 ©
Adrian Schulz211 © WDR | © WDR/Thomas Kost212 © Marco Borggreve213
© rbb/Thomas Ernst214 © Annette Börger215 © Selina Pfruener | ©
Silvano Ballone
Page Copyright
218/219 © Dominik Mentzos Photography220 © Gerhard Kühne222 ©
Holger Talinski | © Geoffroy Schied223 © Sonja Werner (top) | ©
Geoffroy Schied (middle and
bottom right) | © Holger Talinski (bottom left)226 © Holger
Schneider227 © Capella de la Torre/Andreas Greiner-Napp229 © Jörg
Hejkal
Ch. 8 | Independent EnsemblesPage Copyright
232 Ensemble Ordo Virtutum/SWR (top) | Hauptstaats-archiv
Stuttgart/picture: Stefan Morent (bottom left) | Hauptstaatsarchiv
Stuttgart/picture: Stefan Morent (bottom right)
233 Stadtarchiv Konstanz/picture: Stefan Morent
234 © Fabian Schellhorn236 © Kai Bienert | © Barbara Aumüller237
© Walter Vorjohann238 © Beate Rieker/ensemble recherche
618
Ch. 10 | Concert HallsPage Copyright
274/275 © Guido Erbring276 © Volker Kreidler279 ©
www.mediaserver.hamburg.de/Maxim Schulz |
© www.mediaserver.hamburg.de/Michael Zapf |
www.mediaserver.hamburg.de/Michael Zapf/ Architekten Herzog &
de Meuron | www.mediaserver.hamburg.de/Geheimtipp Hamburg
280 © Mark Wohlrab281 © VZN/B. Schaeffer282 © Sebastian Runge |
© Frank Vinken | © Gert Mothes
Page Copyright
283 © Markenfotografie | © David Vasicek/pix123 fotografie
frankfurt
285 © Heribert Schindler286 © Köln Musik/Matthias Baus288 © Jens
Gerber, 2016 |
© Konzerthaus Berlin/David von Becker289 © Christian Gahl | ©
Daniel Sumesgutner293 © Stefan Gloede| © Christina Voigt296/297 ©
Naaro
Ch. 11 | Festspiele and FestivalsPage Copyright
300/301 © Axel Nickolaus303 © Bayreuther Festspiele GmbH/Foto:
Jörg Schulze304 © Bayreuther Festpiele/Enrico Nawrath306/307 ©
KunstFestSpiele Herrenhausen,
Fotos: Helge Krückeberg, 2018308 © Thomas Ziegler312 © WPR
Schnabel (top left) |
© Lutz Voigtländer (bottom left and right)313 © Lutz
Edelhoff
Page Copyright
315 © Janet Sinica316 © Kurt Weill Fest Dessau GmbH/
Fotos: Sebastian Gündel319 © Thüringer Bachwochen320 © Ansgar
Klostermann321 © Marco Borggreve322 © Musikfest Erzgebirge325 ©
Claus Langer/WDR
Page Copyright
328/329 © IMD/Daniel Pufe330 © Peter R. Fiebig | © grafox
gestaltung und fotografie332/333 © SWR/Oliver Reuther335 © Ursula
Kaufmann/Ruhrtriennale 2018336 © Martin Sigmund337 © Koen Broos
Ch. 12 | Contemporary MusicPage Copyright
338/339 © Klaus Rudolph341 © Deutscher Musikrat/Gerardo
Scheige344 © IMD/Daniel Pufe345 © IMD/Jens Steingässer | ©
IMD/Daniel Pufe348 © Antoine Porcher349 © Markus Scholz (left and
top right) |
© Kathrin Singer (bottom right)
Ch. 13 | Popular MusicPage Copyright
350/351 © Timmy Hargesheimer353 © Reinhard Baer356 © Carsten
Klick358 © Sandra Ludewig360 Melt Festival © Stephan Flad361 © ICS
Festival Service GmbH/Rolf Klatt
Page Copyright
365 © Christian Faustus366 © NDR/Rolf Klatt 369 © MDR/ORF/Peter
Krivograd |
© MDR/ARD/Jürgens TV/Dominik Beckmann372 © Jan Krauthäuser
Ch. 9 | Music TheatrePage Copyright
244/245 © Bayerische Staatsoper/Wilfried Hösl 247 © Bayerische
Staatsoper/Wilfried Hösl 250 © Bernadette Grimmenstein (top left) |
© Hans Jörg
Michel (bottom left) | © Stephan Floss (top right) | © Pedro
Malinowski/MiR (bottom right)
251 © Marcus Ebener252 © Landestheater Detmold/Maila von
Haussen
Page Copyright
255 © Gert Weigelt256/257 © Oper Frankfurt/Barbara Aumüller258 ©
Paul Leclair260/261 © Monika Rittershaus262/263 © Disney/Stage
Entertainment266 © Iko Freese/drama-berlin.de269 © Hans Jörg
Michel/NTM
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619
Picture credits |
Ch. 14 | JazzPage Copyright
376/377 © Jens Schlenker379 © Wilfried Klei | © Jürgen
Volkmann380/381 © Elisa Essex386 © Deutscher Musikrat/Thomas
Kölsch388/389 © Peter Tümmers
Page Copyright
391 © Nikolai Wolff/Messe Bremen (top) | © Jan Rathke/Messe
Bremen (middle and bottom right) | © Jens Schlenker/Messe Bremen
(bottom left)
392 © WDR/Kaiser | © WDR/Voigtländer395 © Jan Rathke/Messe
Bremen
Ch. 15 | World MusicPage Copyright
400/401 © Oliver Jentsch402 © Andy Spyra405 © Silverangel
Photography
Page Copyright
408 © D. Joosten | © Frank Diehn409 © S. Hauptmann (top and
bottom right) |
© Matthias Kimpel (middle and bottom left)410 © Daniela
Incoronato
Page Copyright
414/415 © Beatrice Tomasetti416 © MBM/Mathias Marx419 © Antoine
Taveneaux/CC BY-SA 3.0 (top left) |
© Deutsches orthodoxes Dreifaltigkeitskloster (bottom left) | ©
Beatrice Tomasetti (top right) | © Tobias Barniske (bottom
right)
420/421 © Hartmut Hientzsch422 © Matthias Knoch
Ch. 16 | Music in ChurchPage Copyright
423 © Michael Vogl424 © Eugène Bornhofen 427 gemeinfrei | ©
Gottfried-Silbermann-Gesellschaft |
© Michael Zapf | © Martin Doering431 © Cornelius Bierer434 ©
Gert Mothes440/441 © Stefan Korte
Ch. 17 | MusicologyPage Copyright
444/445 © HfM Weimar/Foto: Guido Werner446 © Roman Wack448 ©
Staatstheater Nürnberg/Ludwig Olah449 © fimt/Sebastian Krauß (left)
|
© Museen der Stadt Nürnberg, Dokumentations- zentrum
Reichsparteitagsgelände (top right) | © fimt/Abgabe Rüssel1 (bottom
right)
450 © Ethnologisches Museum, Staatliche Museen zu Berlin/Foto:
Martin Franken | © Ethnologisches Museum, Staatliche Museen zu
Berlin/Foto: Dietrich Graf
Page Copyright
453 © Beethoven-Haus Bonn454 © Beethoven-Haus Bonn457 ©
Musikinstrumentenmuseum der Universität Leipzig,
Johannes Köppl461 © HfM Weimar/Foto: Daniel Eckenfelder |
© HfM Weimar/Foto: Maik Schuck | © HfM Weimar/Foto: Guido Werner
| © HfM Weimar/Foto: Alexander Burzik
Page Copyright
464/465 © Stadtbibliothek Stuttgart/yi architects, Foto:
martinlorenz.net
467 © Eva Jünger/Münchner Stadtbibliothek468 © Falk von
Traubenberg469 © Claudia Monien | Foto: Costello Pilsner
© Zentral- und Landesbibliothek Berlin473 © Staatsbibliothek zu
Berlin – PK, C. Seifert
Ch. 18 | Information and DocumentationPage Copyright
474 © Andreas Klingenberg/HfM Detmold476 © Zentrum für populäre
Kultur und Musik/
Michael Fischer | © Zentrum für populäre Kultur und
Musik/Patrick Seeger
477 © Zentrum für populäre Kultur und Musik/ Michael Fischer
480/481 © BSB/H.-R. Schulz
620
Ch. 20 | Preferences and PublicsPage Copyright
510/511 © Konzerthaus Berlin/David von Becker513 © Stefan
Gloede514 © Semperoper Dresden/Matthias Creutziger (top left) |
© Martin Sigmund (bottom left)| © Niklas Marc Heinecke (top
right) | © Leo Seidel (bottom right)
515 © Bayerische Staatsoper/Felix Loechner518 © Landestheater
Detmold/Kerstin Schomburg |
Landestheater Detmold/A. T. Schäfer
Page Copyright
521 © NDR/Foto: Micha Neugebauer524 © Jonathan Braasch525 © Lutz
Edelhoff526 © NDR/Alex Spiering529 KunstFestSpiele
Herrenhausen,
Foto: Helge Krückeberg, 2018530 © Saad Hamza
Page Copyright
486/487 © Kulturstiftung Sachsen-Anhalt, Foto: Ulrich
Schrader488 © Kulturamt der Stadt Zwickau491 © Nationalarchiv der
Richard-Wagner-Stiftung, Bayreuth
| © Investitions- und Marketinggesellschaft Sachsen-An-halt mbH
| © SCHAU! Multimedia | © Beethoven-Haus Bonn
494 © SIMPK/Anne-Katrin Breitenborn495 © Musikinstrumentenmuseum
der Universität Leipzig/
Foto: Marion Wenzel
Ch. 19 | Music Museums and Musical Instrument Collections Page
Copyright
498 © Germanisches Nationalmuseum/ Foto: Dirk Meßberger
501 © Atelier Brückner/Michael Jungblut502 Foto: Frank Schürmann
© Rock 'n' Popmuseum505 © Uwe Köhn506 © Bach-Museum Leipzig/Jens
Volz507 © André Nestler508 © Aloys Kiefer | © Ulrich Perrey
Page Copyright
536/537 © Schwetzinger SWR Festspiele/Elmar Witt539 © WDR/Thomas
Kost | © WDR/Ines Kaiser540/541 © Claus Langer/WDR542 © MDR/Marco
Prosch545 © NDR/Micha Neugebauer
Ch. 21 | Music in BroadcastingPage Copyright
546 © SAT.1/ProSieben/André Kowalksi549 © WDR/Herby Sachs552 ©
ARD Degeto/X-Filme/Beta Film/
Sky Deutschland/Frédéric Batier559 © Schwetzinger SWR
Festspiele/Elmar Witt
Page Copyright
566/567 © Timm Ziegenthaler568 © Verlag Der Tagesspiegel571 ©
Messe Frankfurt/Petra Weizel576 © Schott Music580 © BuschFunk582
Melt Festival © Stephan Flad
Ch. 22 | Music EconomyPage Copyright
585 © WDR/Ines Kaiser586 © Alciro Theodoro da Silva |
© Bärenreiter/Foto: Paavo Blåfield589 © Musikalienhandlung M.
Oelsner Leipzig592/593 © C. Bechstein Pianoforte AG/Fotos: Deniz
Saylan594/595 © Bach by Bike
Page Copyright
600/601 © DMR/Alfred Michel603 © Andreas Schoelzel604 © Erich
Malter609 © Thomas Imo/photothek.net | © German Embassy
New Delhi | © Maksym Horlay | © BJO/Meier
The German Music CouncilPage Copyright
610 © Heike Fischer | © Marko Djokovic/Belgrade Philharmonic
611 © Sascha Stiehler612 © Knoch/Siegel
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