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

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Independent ensembles

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

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.

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| Richard Lorber / Tobias Eduard Schick

INDEPENDENT ENSEMBLES

In addition to publicly funded orchestras, Germany has hundreds of indepen-d ent ensembles and orchestras of various sizes, with variable combinations of musicians and distinctive repertoires, especially in the fields of early music and contemporary music. They form a broad-based foundation for diverse and differ-entiated concert activities and are found throughout the entire country. That said, their activities tend to be centred in large cities and urban conglomerations. There are more than 40 contemporary music ensembles in Berlin alone, and some 25 in Cologne specialising in early music. A similar density of specialist ensembles can be found in Munich, Hamburg and Freiburg im Breisgau. Moreover, indepen-dent chamber orchestras, often with programmes based around the baroque, pre- classical and classical-romantic repertoires, frequently settle in regions with especially rich musical traditions, such as Central Germany.

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ORGANISATIONAL STRUCTURE AND FINANCING

The term ‘independent ensembles and orchestras’ refers to professional mu-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 practical arrangement; it has few formal strictures, and is inexpensive and bureau-cratically simple to handle. But there are also artistic considerations, for each shareholder has wide-ranging powers of co-determination. On the other hand, this legal status is fraught with dangers, since a partnership’s members are personally liable for its total debts. The shareholders of an ensemble may in clude either all its members (as with Concerto Köln and the Akademie für Alte Musik in Berlin) or several of its leading musicians.

Even outstanding and highly prolific ensembles, such as ensemble recherche in Freiburg or Ensemble Modern, are GbRs. The latter adopted this status after ex-tricating itself in 1987 from the organisational struc tures of the Young German 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 forms a second GbR connected with the ensemble via an agency contract. Often 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 organisa-tion 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, mu-sicians 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 en-semble 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 North Rhine-Westphalian Orchestra Centre. Middle and bottom right: working with Mitsuko Uchido. Bottom left: ‘Feel the Music’

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 sup-port 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 or-ganisational structures: while some ensembles have a professional management

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‘Nomadic collective’: the musi-cians in the Mahler Chamber Orchestra come from more than 20 countries and join forces with different partners for projects and tours. Talent development and education projects are per-manent parts of their schedule.

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team, the administrative work of countless smaller ensembles is spread among their members, who, quite apart from their musical skills, take on such tasks as bureaucratic paperwork, bookkeeping or project management. Moreover, as the number of independent ensembles continues to grow, more and more groups compete for project funding, with publicly funded ensembles also being able to apply for spe cial grants. Even in the rare instances where core funding is grant-ed, the amount is seldom enough to cover the operating costs of a (part-time) manage ment position or the rental of office or rehearsal space. These difficulties frequently cause the range of options to stagnate at a fairly low level. For this reason, ensembles typically give no more than five to 15 concerts a year. Their ac-tivities can also vary dras tically from year to year, as they are largely funded via applications for grants from public sources. The vast majority of ensembles are thus active primarily in their home regions while making constant efforts to ex-pand their radius of action. Important partners for international projects are fre-quently the Goethe Institutes in the countries concerned.

Because of this dire financial situation, even members of large, internationally re-nowned ensembles are not always able to secure their livelihoods through their ensemble work, but must seek outside employment, of which the largest part is probably taken up by teaching commitments. Only a few outstanding ensembles that appear regularly at the most prestigious festivals and venues worldwide, play be tween 50 and 100 concerts annually and hold a substantial number of other events, such as workshops or outreach projects, offer their members enough to make ends meet. The close connection between renowned ensembles and festivals is especially important to both parties in this respect. The concert fees that organ-isers pay to Ensemble Modern and ensemble recherche, for example, are said by these groups to make up at least 50 per cent of their total income. If we add 20 to 25 per cent general funding from city, state or federal government and other pro-ject subsidies, we find these formations incomparably better off than the bulk of independent ensembles. Yet even they must struggle with insecurities owing to the relatively small percentage of core subsidies in their overall budget.

If we compare the situation of independent ensembles (whose members are of-ten personally liable as shareholders of a GbR) with that of orchestras governed by a blanket contract (Tarifvertrag für Musiker in Konzert- und Theaterorchestern,

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TVK), we note a clear discrepancy in the volume of institutional funding and the econom ic risk incurred by individual members. Owing to their different financing options, the average annual income of a member of an independent ensemble, even if world-renowned, is usually far less than that of an employee in a TVK orchestra.

Given these economic drawbacks, the question arises why musicians play in inde-pendent ensembles at all. Here it is surely significant that the number of positions in publicly funded orchestras has dropped by nearly 20 per cent since 1992,2 unlike the number of music school graduates, so that alternative fields of activity have become increasingly important. On the other hand, independent ensembles give their members far greater artistic licence, a fact that many ambitious musicians use to make a virtue of necessity. They find it attractive to pursue their artistic ambitions individually within freely constituted ensembles.

EARLY MUSIC ENSEMBLES

The history of the historically informed performance of early music in Ger many dates from 18 September 1954, when Cappella Coloniensis gave its first concert on period instruments in the Great Broadcasting Studio of what was then North west German Radio (NWDR) in Cologne. Seated in the audience were the incumbent president of Germany, Theodor Heuss, and federal economic minister Ludwig Er-hard, lending the event great political weight. It was not until 21 September 1985 that a similar constellation arose, when Richard von Weizsäcker, in his capacity as Federal President, delivered a festive address for the Bach, Handel and Schütz Ju bilee at the Stuttgart International Festival of Music. The ensembles in these per-formances were the Gächinger Kantorei (likewise founded in 1954) under its direc-tor Helmuth Rilling, and the Stuttgart Bach Collegium (founded in 1965), one of the few early music ensembles that played on modern instruments. Today both Stutt-gart ensembles, headed by Hans-Christoph Rademann, have renamed them selves the Gaechinger Cantorey and take their bearings from the historically informed performance practice established in Germany by the above-mentioned Cappella Coloniensis: the musicians play either on historical instruments or on modern re-constructions and make their decisions on the basis of historical sources, thereby creating performances as faithful as possible to the originals. Often the groups pre-pare editions on their own or in conjunction with musicologists.

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Left: the Gaechinger Cantorey performing Bach’s St Matthew Passion at the ‘BachBewegt! Tanz!’ festival for children and adolescents. Right: Capella de la Torre

A formative event for Germany’s early music scene was the appearance of Musica Antiqua Köln under Reinhard Goebel in 1973, the first genuinely independent en-semble to attain worldwide fame. Today the German Music Information Centre 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-pressive and successful 60-year history. If its style of performance and struggles with historical instruments initially drew smirks from established ensembles, its musical standards have long come to equal, and sometimes to far surpass, those of publicly funded orchestras. In the meantime TVK orchestras have largely delegat-ed baroque music and the early classical repertoire to the early music ensembles or hire specialists from the early music scene for their own pro grammes. Several opera houses, including the Berlin State Opera ‘Unter den Linden’, the Karlsruhe State Theatre and the Magdeburg Theatre, likewise engage specialist ensem-bles for their baroque productions or festivals. Early music specialists are also hired to conduct at other opera houses or to supply local opera orchestras with continuo players.

With its artistic achievements, pioneering spirit and fresh discoveries, the early music scene has ensured that the spectrum of today’s musical life has expanded enormously. Early music encompasses the nearly 1000 years of music history be-

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tween Gregorian chant and the romantic symphony. It includes not only regionally significant works that have long passed unnoticed, but also music from other European and even non-European countries.

In this sense, early music has truly arrived in the great concert series and ven ues. That it is now present in all areas of musical life, from normal concert ope ra - tions and festivals to the CD market and radio broadcasts, and at practically every higher education institute, is a fundamental achievement of the ensembles and artists who have specialised in this area. In the course of this devel opment, sever-al regional hubs have emerged in Germany. Cologne, for example, is sometimes called the capital of early music. The Cologne Early Music Society currently has 90 active ensembles and musicians in its membership. This density is related to the roles played by Cologne’s University of Music and Dance and by West German Radio (WDR), which has functioned as a sort of midwife and patron for many ensembles since the 1960s. Every higher education institute where early music is cultivated has given rise to corresponding ensembles. This is most impres sively

apparent in Basel with its Schola Cantorum Basiliensis, which constantly spawns new ensemble activities in its surroundings, many of which lastingly enrich Ger-many’s early music scene. Similarly, nationally successful ensembles stimulate the scenes where they happen to be headquartered, as witness Freiburg and Berlin.

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More than 200 professional early music ensem-

bles can be researched in the databases of the

German Music Information Centre with details

on their programme emphases and much else.

But following a heyday that made all of this possible – a period extending well into the 1990s – musicians now face increasingly difficult conditions. The CD market has collapsed; radio has largely withdrawn from its own productions and focuses on live recordings; moreover, early music ensembles not only augment the offer-ings of publicly funded orchestras in today’s concert life, they also compete with each other. It was in response to this state of affairs, among other things, that the Cologne Early Music Society was founded in 2011. It now operates the Cologne Ear-ly Music Centre (Zentrum für Alte Musik Köln, or ZAMUS), whose operating costs are partly defrayed by a subsidy from the city and a grant-in-aid from the state of

North Rhine-Westphalia as well as foundations and sponsors. Opened in 2012, ZAMUS is unique in Germany. Not only does it of-fer its members valuable logistic support in the form of rehearsal

and office space and instrument loans, it has also become a meeting place for artis-tic encounters. It is also the site of the annual Cologne Early Music Festival, which, 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 their headquarters, with rehearsal rooms and orchestral offices. The courses and workshops of the Ensemble Academy elevate the contacts and interaction be-tween 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 op-tions 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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sue their own musical plans via project grants and obtain greater artistic author ity and publicity from the festival context. Hermann Max, for example, bundles his performances with the Rheinische Kantorei in the Knechtsteden Early Music Fes-tival; Frieder Bernius mounts the Stuttgart Baroque Festival; the Lautten Compa-gney offers the Aequinox Music Days in Neuruppin; and Andreas Spering presents Germany’s only Haydn festival in Brühl near Cologne. If early music festivals such as the Göttingen Handel Festival or the Potsdam Sanssouci Festival emerged from earlier traditions, there is now a noticeable trend for them to align on particular artistic figures or ensembles: the festival orchestra in Göttingen, for example, has become an ensemble in its own right under Laurence Cummings, and beginning in 2019 the new managing director in Potsdam, the recorder player Dorothee Ober-linger, will head opera productions on a regular basis with her Ensemble 1700, hav ing previously directed the Baroque Festival in Bad Arolsen.

Moreover, the scene now abounds in synergies. Festival activities, professorships and teaching positions, exclusive ties to labels, ensemble leaderships and solo ap-pearances allow performers to build up large spheres of activity and to exploit

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networks almost in the manner of entrepreneurs. Many ensembles at tempt to establish at least their own concert series, if not entire festivals. The Freiburg Baroque Orchestra mounts three series in Freiburg, Stuttgart and Berlin; the Ber-lin Akademie für Alte Musik likewise has a series in Berlin and another in Mu-nich. Even a comparatively small ensemble with a specialist medieval repertoire, such as Ensemble Leones in Grenzach-Wyhlen (on the southern border of Baden- Württemberg), takes part in the biannual ‘Autumn of the Middle Ages’ Festival in neighbouring Basel-Binningen. Capella de la Torre runs the Musica Ahuse series in the Swabian-Bavarian town of Auhausen, among other things, and the Elbipolis Baroque Orchestra is considering establishing an early music festival in Hamburg.

CD releases continue to be important for early music ensembles. Even if they no longer form a substantial source of income, they contribute to an ensemble’s 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. CDs then function as programmes for tours and as audio guides to the ensemble’s repertoire. This applies in particular to smaller ensembles in a chamber format. Incidentally, such ensembles usually arrange their concerts themselves, whereas the (mostly small) agencies active in the early music scene tend to book foreign ensembles with limited knowledge of the German market.

Repertoire

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, though at first glance a narrow field for aficionados, has enabled the ensemble in the 12 years of its existence to achieve an astonishing breadth of impact with thematic programmes such as ‘Luther’s Wedding Music’, ‘Una Serata Venexiana’ or ‘Music for the Council of Constance’. Musica Fiata and La Capella Ducale, both of which have existed since the 1970s, specialise in 17 th-century vocal and instrumen-tal music; the Tübingen ensemble Ordo Virtutum cultivates, among other things, staged performances of medieval drama. Chorus Musicus and Das Neue Orchester, both based in Cologne, present 19th-century oratorios, hiring 50 or more musicians for each performance and mounting such unusual projects as the ‘London version’ of Brahms’s German Requiem for solo voices, chorus and piano four hands.

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Unlike the classical-romantic repertoire, early music does not have standard in-strumentations set down in the sources. This applies not only to the size of the forces but equally to the combination of timbres. When Cappella Coloniensis was founded, it took its historical bearings from the Dresden court chapel of the 18th century. Ensembles employ flexible forces to fit their budget, adding or omit-ting continuo instruments and reducing or expanding string sections. Even with mixed combinations of voices and instruments, as in the Venetian polychoral tra-dition, vocal parts can be replaced with instruments ad libitum. Sometimes co-incidental meetings of artists can play a role: the young north German ensemble PRISMA, for example, consists of recorder, violin, viola da gamba and lute, a combi-nation of instruments for which probably not a single work was ever written. But one of the cardinal precepts of historically informed performance practice is that musical sources must be adapted to suit available resources and artistic ambitions.

Another common speciality is the cultivation of a regional repertoire. The Elbi-polis Baroque Orchestra of Hamburg sets its sights on music performed at the Gänsemarkt opera house in the 17th and 18th centuries; Cantus and Capella Thurin-gia devote themselves to the music of central Germany and launched the project ‘Thuringia’s Musical Heritage: the sounds of palaces, cities and villages between Reformation and Enlightenment’, funded by the Thuringian Ministry of Culture. Hofkapelle München attempts to resurrect the musical life of Munich and Bavaria 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.

In the first decades of the early music movement the main emphasis fell on read-ings of well-known works by Bach, Handel and Vivaldi in the then novel sound of period performance practice. Today the watchword is rediscovery: forgotten works are presented to the public, thereby creating ‘world premières’ of past music for our own time. The situation is somewhat different with ensembles whose internation-al radius of action causes them to service a very broad repertoire: Concerto Köln recently released new recordings of Vivaldi’s Le quattro stagioni and Bach’s Bran-denburg Concertos – standard works of early music – but pursue the goal of shifting the boundaries of its repertoire toward the 19th century, e.g. with the grandly con-ceived and musicologically substantiated plan to perform Wagner’s Ring tetralo-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 pro-ject, the ensemble sings from medieval chant codices handed down as scrap paper in the bind-ings of monastic documents.

surely stretched its capacities almost to the limit with roughly 100 concerts per year, proclaims its intent to cover as broad a repertoire as possible, from the early baroque to newly commissioned world premières.

New concert formats and music appreciation

Whether in festivals, private cultural activities or normal concert operations at the municipal level, demand no longer centres exclusively on conventional concert programmes, no matter how sophisticated their dramatic structure. Ensembles must now have expanded offerings ready to hand, particularly when it comes to grant applications. Almost all ensembles mount lecture-concerts. For years this has been the special forte of Christoph Spering, most recently with the complete cycle of Beethoven symphonies at Blaibach Concert Hall. Capella de la Torre has

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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-kasse Foundation and Musikland Niedersachsen gGmbH. The Freiburg Baroque Orchestra, for its part, presents school concerts and workshops for children and 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 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-gney was Timeless, which juxtaposed minimal music by Philip Glass and composi-tions by Tarquinio Merula, a contemporary of Monteverdi.

In recent years such hybrids and crossovers of normal concert forms, cultivated by early music ensembles not least to develop a market presence, have given rise to the field of concert design. Beginning with the viola player Folkert Uhde, later 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 is based on the belief that the traditional 19th-century concert form is in fact unsuitable to the early music repertoire, and often to the listening habits of today’s audience. The creation of new offerings is yet another meritorious achievement of the independent scene with its flexible ensembles.

CONTEMPORARY MUSIC ENSEMBLES

The emergence of the first specialist ensembles for contemporary music was closely connected with the new demands that composers placed on performers with their music. After a few trial attempts in the early post-war years (e.g. the SWR Vocal Ensemble of Stuttgart in 1946), the first great wave of ensemble foun-dations came about in the early 1980s, including such groups as Ensemble Mod ern (Frankfurt am Main, 1980) and ensemble recherche (Freiburg, 1985). By the end of the 1990s a nationwide scene of specialist ensembles had arisen for contemporary music, and the start-ups have continued, if on a lesser scale, in the new millen-nium. Today the German Music Information Centre lists at least 180 professional ensembles in this area. Yet it is impossible to obtain an exact statistical overview of

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The German Music Information Centre maintains

information on some 180 profession al contempo-

rary music ensembles with their year of foundation,

membership, programme emphases and other facts.

this ‘independent scene’. Its very name points to constant changes and a low level of institutionalisation. When ensembles disband, they seldom do so in an official manner; far more frequent is de facto termination through inactivity, which may result from a lack of financial and artistic options or from the artistic or geographic relocation of their members. Lack of continuity in ensemble work often endangers its stability, but is practically unavoidable, given that ensembles generally form during the transitional period between the end of studies and the beginning of professional life, and thus in a phase of personal ori-entation. It follows that cities with musical insti-tutes of higher learning are preferred locations for the launching of new ensembles. This often happens in a context in which present-day music, while present and appreciated, exists in a certain institutional vacuum. In the early 1980s, for example, Freiburg was a major centre of contemporary music; it could boast of Germany’s first Institute of New Music (the director, Klaus Huber, 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 cham-ber 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 pro-jects 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 bureau cratic red tape. Besides higher education institutes and master-classes, im-portant meeting places include specialist institutions such as the International En-semble Modern Academy (IEMA), founded in 2003. Since 2006 it has joined forces with Frankfurt University of Music and the Performing Arts to present a yearlong

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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

master’s degree programme in contemporary music in which highly qualified young musicians spend fairly long periods together and often continue to do so after the programme has finished. It was just such circumstances that led to the formation of Ensemble Interface in 2011 and the Mobile Beats Ensemble in 2015 - 16.

Instrumentation and repertoire

The landscape of contemporary music ensembles can be subdivided by such con-trasting criteria as number of musicians, choice of instruments, radius of action or artistic emphases. The distribution by number of musicians seems quite bal-anced: roughly half of the ensembles have four to ten members, the others consist-ing fairly equally either of duos and trios or groups with more than ten members. Medium-size ensembles that can be expanded or reduced on a project-by-project basis are thus the rule. Far less balanced are the combinations of instruments. Some 40 ensembles with homogeneous instrumentation – including seven string quartets, three percussion ensembles and three saxophone quartets – are offset by more than 120 with mixed forces. The latter include various combinations of

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woodwind, strings, piano, percussion and, more rarely, brass instruments, guitars or electronic sound generators. Still greater is the imbalance between vocal and instrumental ensembles: only ten vocal ensembles place their main emphasis on contemporary music, as opposed to far more than 150 instrumental ensembles, of which only a few occasionally incorporate the human voice. These facts dominate the widespread image of a typical ‘contemporary music ensemble’ as consisting of a mixed combination of five to 15 instrumentalists. Less prominent ensembles in particular adapt their instrumentation and size to the demands and circum - stanc es of the given performance.

A glance at the music history of the past 35 to 40 years shows that the nature of en-sembles and the creation of works of music are mutually related. Ever since the ini-tial wave of start-ups, new ensembles have patterned their choice of instruments on canonic works of modern music, though sometimes in modified form. This ap plies, for example, to Ensemble Modern, whose instrumentation was originally aligned with Schoenberg’s First Chamber Symphony (op. 9), and to ensemble recherche,

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which ultimately patterned its instrumentation (flute, oboe, clarinet, violin, viola, cello, percussion and two pianos) on Schoenberg’s Pierrot lunaire (voice, flute, clari-net, violin, cello and piano). Given that a large body of important music was writ-ten specifically for such leading ensembles (since its inception in 1985, ensemble recherche alone has given the world premières of more than 600 works), they also exercised an influence on the instrumentation of later ensembles. This is especial-ly true of the scoring of Pierrot lunaire, which has assumed a canonic stature in con-temporary music similar to that of the string quartet in classical chamber music, serving as a model for Ensemble Interface, the Talea Ensemble, via nova and other ensembles.

Particularly in a later wave of ensemble start-ups, however, we note different ways of dealing with canonic instrumentations. The Cologne ensemble ‘hand werk’, for example, decided explicitly in favour of the classical scoring for flute, clarinet, violin, cello, piano and percussion so as to enable repeat performances of a large repertoire, thereby counteracting the controversial trend toward a superfluity of works heard only at their world premières and never again. Today we can also ob-serve the opposite: some ensembles deliberately avoid classical scorings so as to sharpen their image and promote artistic variety. Some unusual but highly suc-cessful formations, such as the Stuttgart-based ensemble ascolta (trumpet, trom-bone, two percussionists, piano/sampler, cello/electric cello, guitar/electric guitar/electric bass), which has premièred more than 250 works since its foundation in 2003, spawn repertoires of their own. However, this courts the danger that works

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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 of the music industry. In consequence, performances of today’s music continue to be relegated to the sidelines in special series and festivals instead of becoming a normal part of musical life. Yet the separation between classical and contempo-rary music is also rooted in the nature of the beast: hardly any significant pre-1900 compositions are scored for the mixed combination of instruments typically found in a contemporary music ensemble. Notable exceptions are hallowed traditional formats such as the string quartet. One example among many is the Cologne- based Minguet Quartet, which frequently combines classical quartet literature with music of the 20th or 21st century.

Events, networks and synergies

Networking between concert organisers and ensembles is a mutually profitable aspect that works to the benefit of many small ensembles, and perhaps even more so to that of renowned ones. Most groups are mainly active in their home territory, where they perform the indispensable task of cultivating the music of composers active primarily in their region while drawing attention to important international developments. For them, collaboration with regional concert organis ers is of crucial importance, for it enables them to appear regularly in established concert series and thus to achieve continuity in their ensemble work. At times we also find co-operation between various regional concert organisers, with the goal of presenting programmes from three to at most ten times each at different locations. Also im-portant for the continuity of an ensemble’s work and its visibility to the outside

240

world are regular concert venues and series. The Freiburg-based Ensemble Aven-ture, for example, gives its Freiburg performances exlusively in the rooms of the Elisabeth Schneider Foundation. The independent ensembles working in Dres-den under the umbrella organisation Klangnetz mount a joint thematic concert series for which the German Museum of Hygiene serves both as a partner and a venue.

If most small ensembles are rarely if ever invited to major festivals, the tight net-working of renowned ensembles and festivals is important in both directions. This becomes apparent from a quick analysis of festival programmes with an eye to the question: which ensembles have appeared at major festivals over the last ten to 15 years? It transpires that, in most cases, roughly half the programmes are giv-en to ensembles invited at regular intervals. Between 2003 and 2016 Ensemble Mod ern appeared five times at the Donaueschingen Festival, MusikFabrik four times, Klangforum Wien six times and the SWR Vocal Ensemble of Stuttgart (the organ iser’s own ensemble) eight times. The Witten Festival of New Chamber Music featured Klangforum Wien six times between 2001 and 2017, the Arditti Quartet 11 times and ensemble recherche 12 or 13 times. Much the same holds true of Ber-lin’s Ultraschall Festival.

Programming and outreach

Given the impressive aesthetic multiplicity and programme variety that have long been typical of the independent scene, various trends in the form and contents of musical presentations have become noticeable over the last five to ten years. For example, outreach initiatives have become increasingly widespread and common-place. Virtually all ‘great’ ensembles have long participated in or developed their own education programmes. Many ensembles working on a smaller scale have also made cultural outreach (e.g. in schools) an important part of their work. Giv-en the realisation that encounters with present-day music become more natural through continuity, the communicative aspect should not be overlooked even in formats that do not expressly emphasise communication as such. Offerings such as the Ensemble Modern’s subscription series in the Frankfurt Alte Oper, which has presented the latest works and developments on a regular basis since 1985, have quite obviously contributed to the greater acceptance of contemporary music and

241

Independent Ensembles |

its perception as a normal part of today’s musical culture. Similarly, the various training and advanced education projects of internationally renowned ensembles in particular form an essential part of their work. Whether in master classes at the Darmstadt Holiday Courses, the Impulse Academy in Graz or in various types of self-developed programmes, musicians can pass on their experience to composers and instrumentalists who are still studying.

Other important developments in recent years involve an increasingly natural handling of electronic media and reflections on the concert format itself. Not only is there a growing use of electronic sound production (live electronics, pre-recorded sound, electronic instruments etc.), visual media such as video and light shows have also increasingly found their way into concert formats. This development has resulted not least from the fact that new technologies have become more afford-able and simpler to use, even if expenses are usually still so high that many small organisers and ensembles find them prohibitive. In short, the spread of dig ital me-dia is still far from ubiquitous. Here it is especially the large concert organ isers who proceed along these lines, as well as younger ensembles who attach a certain priority to this aspect, for the enhanced used of electronic media is gener ally not 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, which calls itself a ‘band for contemporary music’.

Today’s art should incorporate today’s technology. This firm belief is often com-bined with reflections on the concert format and a critique of conventional forms of presentation which originated in the bourgeois 19th-century concert, and which many musicians consider obsolete. Of the various efforts to change the concert framework, two are particularly worthy of note. First, for several years there has been an increasing turn towards the performative, where everyday objects are employed in addition to classical instruments, the performance space is incorpo-rated in the presentation and at times the boundary with theatre or performance art is overstepped. Second, there has been a trend toward staged and/or curated concerts, where pieces are co-ordinated thematically, joined together beneath overriding spatial or lighting concepts or even linked by musical or performative transitions, producing an overall process with the aim of creating cohesive events rather than a loose succession of pieces.

242

FUTURE PERSPECTIVES

Independent ensembles have become an integral part of Germany’s musical landscape. All in all, each scene can be viewed as established and can look back on a substantial tradition and evolution. Nonetheless, their (economic) situation con-tinues to pose a wide range of challenges. Insufficient or non-existent institutional support, competition for underfunded grant programmes and other difficulties frequently lead to working conditions that are problematical if not precarious. But 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 con-ditions 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 contempo rary music) and the interest group FREO (Freie Ensembles und Orchester in Deutschland) in 2018, with the aim of improving working conditions in the in-dependent 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.

243

Independent Ensembles |

1 See the definition proposed by FREO (Freie Ensembles und

Orchester), an initiative founded by nine ensembles, at

http://www.freo.online/warum-freo (accessed on 25 June 2018).2 See Fig. 2 in Gerald Mertens’s essay ‘Orchestras, radio ensembles

and opera choruses’.3 See the German Music Information Centre’s database at

http://www.miz.org/institutionen/musikfestspiele-

festwochen-festivals-s49.

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 info@miz.orgwww.miz.org

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

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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