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{{Short description|Festival of contemporary music}}
{{Infobox recurring event
{{Infobox recurring event
| name = {{lang|de|Darmstädter Ferienkurse|italic=no}}
| name = {{lang|de|Darmstädter Ferienkurse|italic=no}}
| logo =
| logo =
| image = [[File:Bundesarchiv B 145 Bild-F004566-0002, Darmstadt, Internationaler Kurs für neue Musik.jpg|frameless|upright=1.3]]
| image = Bundesarchiv B 145 Bild-F004566-0002, Darmstadt, Internationaler Kurs für neue Musik.jpg
| image_size =
| caption = Course with [[Karlheinz Stockhausen]] in 1957
| caption = Course with [[Karlheinz Stockhausen]] in 1957
| begins =
| begins =
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| people =
| people =
| member =
| member =
| website = {{url|http://www.internationales-musikinstitut.de/ferienkurse}}
| website = {{URL|http://www.internationales-musikinstitut.de/ferienkurse}}
}}
}}
'''Darmstädter Ferienkurse''' ("Darmstadt Summer Course"){{efn|literal: Darmstadt Vacation Courses}} is a regular summer event of contemporary classical music in [[Darmstadt]], [[Hesse]], Germany. It was founded in 1946, under the name '''Ferienkurse für Internationale Neue Musik Darmstadt''' (Vacation Courses of International New Music in Darmstadt),<ref name="Applegate" /> as a gathering with lectures and concerts over several summer weeks. Composers, performers, theorists and philosophers of [[Contemporary classical music|contemporary music]] met first annually until 1970, and then biannually. The event is <!--was organised by the Kranichsteiner Musikinstitut, which was renamed--> organised by '''Internationales Musikinstitut Darmstadt''' (IMD). It is regarded as a leading international forum of contemporary and [[experimental music]] with a focus on composition.<ref name="MIZ" /><ref name="Musikpreis" /> The festival awards the '''Kranichsteiner Musikpreis''' for performers and young composers.
'''Darmstädter Ferienkurse''' ("Darmstadt Summer Course"){{efn|literally: Darmstadt Vacation Courses}} is a regular summer event of contemporary classical music in [[Darmstadt]], [[Hesse]], Germany. It was founded in 1946, under the name "Ferienkurse für Internationale Neue Musik Darmstadt" (Vacation Courses of International New Music in Darmstadt),<ref name="Applegate" /> as a gathering with lectures and concerts over several summer weeks. Composers, performers, theorists and philosophers of [[Contemporary classical music|contemporary music]] met first annually until 1970, and then biennially. The event was organised by the [[Kranichstein]]<nowiki />er Musikinstitut, which was renamed Internationales Musikinstitut Darmstadt (IMD). It is regarded as a leading international forum of contemporary and [[experimental music]] with a focus on composition.<ref name="MIZ" /><ref name="Musikpreis" /> The festival awards the {{ill|Kranichsteiner Musikpreis|de}} for performers and young composers.


== History ==
==History==
=== Overview ===
===Overview===
[[File:Bundesarchiv B 145 Bild-F004561-0004, Darmstadt, Internationaler Kurs für neue Musik (cropped-Steinecke).jpg|thumb|upright=0.8|<center>[[Wolfgang Steinecke]] in 1957</center>]]
[[File:Bundesarchiv B 145 Bild-F004561-0004, Darmstadt, Internationaler Kurs für neue Musik (cropped-Steinecke).jpg|thumb|upright=0.8|[[Wolfgang Steinecke]] in 1957]]
The Ferienkurse were initiated in 1946 by [[Wolfgang Steinecke]], then responsible for culture in the municipal government of [[Darmstadt]].<ref name="Krebber" /> He directed them until his death in 1961, succeeded by {{ill|Ernst Thomas|ru|Томас, Эрнст}} (1962–81), {{ill|Friedrich Ferdinand Hommel|de}} (1981–94), Solf Schaefer (1995–2009), and Thomas Schäfer, who has been artistic director and president of the IMD from 2009.<ref name="Krebber" />
The Ferienkurse were initiated in 1946 by [[Wolfgang Steinecke]], then responsible for culture in the municipal government of [[Darmstadt]].<ref name="Krebber" /> He directed them until his death in 1961, succeeded by {{ill|Ernst Thomas|ru|Томас, Эрнст}} (1962–81), [[Friedrich Ferdinand Hommel]] (1981–94), Solf Schaefer (1995–2009), and Thomas Schäfer, who has been artistic director and president of the IMD from 2009.<ref name="Krebber" />


The courses were first held annually, lasting for about twelve days. From 1970, they have been held biannually for two to three weeks.<ref name="Krebber" /> The first venue was {{ill|Schloss Kranichstein|de|Jagdschloss Kranichstein}} in Darmstadt. Beginning in 1949, public buildings in Darmstadt have been used.
The courses were first held annually, lasting for about twelve days. From 1970, they have been held biennially for two to three weeks.<ref name="Krebber" /> The first venue was [[Jagdschloss Kranichstein]], a rural [[Jagdschloss|hunting lodge]] in Darmstadt. Beginning in 1949, public buildings in Darmstadt have been used not only for some concerts as in the beginning, but also for courses.<ref name="Program" />


=== Background ===
===Background===
The Ferienkurse were founded to connect Germany again to the international scene in classical music, as [[Modernism (music)|modernist]] forms of classical music (such as [[expressionist music]], the [[Second Viennese School]] and [[serialism]]) had been systematically suppressed by the Nazis from 1933 as "[[degenerate music]]".<ref name="Eckle" /><ref name="Applegate" /> Creative minds were expelled and murdered over a period of twelve years.<ref name="Hagedorn" />
The Ferienkurse were founded to reconnect Germany to the international scene in classical music, as [[Modernism (music)|modernist]] forms of classical music (such as [[expressionist music]], the [[Second Viennese School]] and [[serialism]]) had been systematically suppressed by the Nazis from 1933 as "[[degenerate music]]".<ref name="Applegate" /><ref name="Eckle" /> During that time, representatives of the modernist movement had been expelled, silenced, or murdered.<ref name="Hagedorn" />


=== Beginning ===
===Beginning===
The first event in 1946 offered courses in conducting by {{ill|Carl Mathieu Lange|de}}, in composition by [[Wolfgang Fortner]], in piano by [[Georg Kuhlmann]], voice by Elisabeth Delseit, violin by [[Günter Kehr]], opera direction by Bruno Hey and {{ill|Walter Jockisch|de}}, and music criticism by [[Fred Hamel]].<ref name="Program" />
The first event in 1946 offered courses in conducting by [[Carl Mathieu Lange]], [[musical composition]] by [[Wolfgang Fortner]], piano by [[Georg Kuhlmann]], voice by Elisabeth Delseit, violin by [[Günter Kehr]], opera direction by Bruno Hey and [[Walter Jockisch]], and music criticism by [[:de:Fred Hamel|Fred Hamel]].<ref name="Program" />


A first series were courses, lectures and concerts, from 25 August to 21 September. They were followed by public concerts and lectures, titled Internationale zeitgenössische Musiktage (International contemporary music days) from 22 to 29 September, held in collaboration with the city of Darmstadt, its [[Staatstheater Darmstadt|Landestheater]], and the broadcasters [[Süddeutscher Rundfunk]] and [[Hessischer Rundfunk|Radio Frankfurt]].<ref name="Program" /> Events included an exhibition of the [[Neue Darmstädter Sezession]], ''Zeitgenössische deutsche Kunst'', and also Carl Orff's opera ''[[Die Kluge]]'', and the award ceremony of the [[Georg Büchner Prize]] to [[Fritz Usinger]]. Concerts presented several world premieres, such as {{ill|Erich Sehlbach|de}}'s string sextet, Fortner's ''für Klavier'', [[Günter Raphael]]'s sonata for solo flute, a trio for flute, viola and cello by [[Günter Bialas]] (1923), Henze's ''Kranichsteiner Kammerkonzert'' for flute, piano and strings, and ''Hölderlin-Lieder'' by [[Hermann Reutter]]. [[Willy Burkhard]]'s ''Symphonie in einem Satz'' (1944) and [[Paul Hindemith |Hindemith]]'s String Quartet No. 6 (1943) received their first performance in Germany.<ref name="Program" />{{rp|5–8}}
A first series were courses, lectures and concerts from 25 August to 21 September. They were followed by public concerts and lectures, titled "Internationale zeitgenössische Musiktage" (International contemporary music days) from 22 to 29 September, held in collaboration with the city of Darmstadt, its [[Staatstheater Darmstadt|Landestheater]], and the broadcasters [[Süddeutscher Rundfunk]] and [[Hessischer Rundfunk|Radio Frankfurt]].<ref name="Program" /> Events included an exhibition of the [[Neue Darmstädter Sezession]], "Zeitgenössische deutsche Kunst", and also Carl Orff's opera ''[[Die Kluge]]'', and the award ceremony of the [[Georg Büchner Prize]] to [[Fritz Usinger]]. Concerts presented several world premieres, such as {{ill|Erich Sehlbach|de}}'s string sextet, Fortner's ''für Klavier'', [[Günter Raphael]]'s sonata for solo flute, a trio for flute, viola and cello by [[Günter Bialas]] (1923), Henze's ''Kranichsteiner Kammerkonzert'' for flute, piano and strings, and ''Hölderlin-Lieder'' by [[Hermann Reutter]]. [[Willy Burkhard]]'s ''Symphonie in einem Satz'' (1944) and [[Paul Hindemith|Hindemith]]'s String Quartet No. 6 (1943) received their first performance in Germany.<ref name="Program" />{{rp|5–8}}


During the first years of the event, a focus was on German premieres of works, sometimes decades after their composition, by composers such as [[Arnold Schönberg]], [[Anton Webern]], [[Igor Stravinsky]] and [[Béla Bartók]].<ref name="Applegate" /><ref name="Program" /> Schoenberg's [[Piano Concerto (Schoenberg)|Piano Concerto]] was played in 1948,<ref name="Program" />{{rp|15}} and his [[String Quartet No. 4 (Schoenberg)|String Quartet No. 4]] in 1949.<ref name="Program" />{{rp|21}} That year, a symphony concert was dedicated exclusively to Schoenberg's works, including the German premiere of his [[Violin Concerto (Schoenberg)|Violin Concerto]], honouring his 75th birthday.<ref name="Program" />{{rp|22}} The 70th birthday of Webern was honoured with a concert of his chamber music in 1953.<ref name="Program" />{{rp|47}}
During the first years of the event, a focus was on German premieres of works, sometimes decades after their composition, by composers such as [[Arnold Schönberg]], [[Anton Webern]], [[Igor Stravinsky]] and [[Béla Bartók]].<ref name="Applegate" /><ref name="Program" /> Schoenberg's [[Piano Concerto (Schoenberg)|Piano Concerto]] was played in 1948,<ref name="Program" />{{rp|15}} and his [[String Quartet No. 4 (Schoenberg)|String Quartet No. 4]] in 1949.<ref name="Program" />{{rp|21}} That year, a symphony concert was dedicated exclusively to Schoenberg's works, including the German premiere of his [[Violin Concerto (Schoenberg)|Violin Concerto]], honouring his 75th birthday.<ref name="Program" />{{rp|22}} The 70th birthday of Webern was honoured with a concert of his chamber music in 1953.<ref name="Program" />{{rp|47}}


It was the first forum of contemporary music in Germany after World War II, including music theory and philosophy.<ref name="Eckle" /> Lectures were held by instructors such as [[Theodor W. Adorno]], [[René Leibowitz]], [[Heinz-Klaus Metzger]], and later [[Carl Dahlhaus]] and [[Rudolf Stephan]], offering critical reflection of advanced composition. Composers such as [[Edgard Varèse]], [[Olivier Messiaen]],{{efn|However, although Messiaen paid "a brief visit" to the courses in 1949, "he neither taught students nor lectured" there.<ref name="Iddon" />}} [[Ernst Krenek]] and [[John Cage]] visited, presenting their work and aesthetic in composition classes, and contributing to worldwide recognition of the institution.<ref name="Eckle" />
It was the first forum of contemporary music in Germany after World War II, including music theory and philosophy.<ref name="Eckle" /> Lectures were held by instructors such as [[Theodor W. Adorno]], [[René Leibowitz]], [[Heinz-Klaus Metzger]], and later [[Carl Dahlhaus]] and [[Rudolf Stephan]], offering critical reflection of advanced composition. Composers such as [[Edgard Varèse]], [[Olivier Messiaen]],{{efn|However, although Messiaen paid "a brief visit" to the courses in 1949, "he neither taught students nor lectured" there.{{sfn|Iddon|2013|p=31}}}} [[Ernst Krenek]], [[Earle Brown]]{{sfn|Anon.|2006}}{{sfn|Beal|2007}} and [[John Cage]] visited, presenting their work and aesthetic in composition classes, and contributing to worldwide recognition of the institution.<ref name="Eckle" />{{sfn|Iddon|2013|p=196}}


=== Darmstadt School ===
===Darmstadt School===
{{main|Darmstadt School}}
{{main|Darmstadt School}}
[[File:Luigi-Nono-Karlheinz-Stockhausen-1957.jpg|thumb|upright=0.8|[[Luigi Nono]] and [[Karlheinz Stockhausen]] in 1957]]
[[File:Luigi-Nono-Karlheinz-Stockhausen-1957.jpg|thumb|[[Luigi Nono]] and [[Karlheinz Stockhausen]] in 1957]]
Composers such as, initially, [[Karlheinz Stockhausen]], [[Pierre Boulez]], [[Luigi Nono]], [[Bruno Maderna]], and later [[Luciano Berio]], [[Earle Brown]], [[John Cage]], [[Aldo Clementi]], [[Franco Donatoni]], [[Niccolò Castiglioni]], [[Franco Evangelisti (composer)|Franco Evangelisti]], [[Karel Goeyvaerts]], [[Mauricio Kagel]], [[Gottfried Michael Koenig]], [[Giacomo Manzoni]], [[Henri Pousseur]], [[Helmut Lachenmann]], and [[Brian Ferneyhough]] presented their radical approach and theories. They are sometimes referred to as the ''Darmstädter Schule'' ([[Darmstadt School]]).<ref name="Eckle" />
Composers such as, initially, [[Karlheinz Stockhausen]], [[Pierre Boulez]], [[Luigi Nono]], [[Bruno Maderna]], and later [[Luciano Berio]], [[Aldo Clementi]], [[Franco Donatoni]], [[Niccolò Castiglioni]], [[Franco Evangelisti (composer)|Franco Evangelisti]], [[Karel Goeyvaerts]], [[Mauricio Kagel]], [[Gottfried Michael Koenig]], [[Giacomo Manzoni]], [[Henri Pousseur]], [[Helmut Lachenmann]], and [[Brian Ferneyhough]] presented their radical approach and theories. They are sometimes referred to as the "Darmstädter Schule" ([[Darmstadt School]]).<ref name="Eckle" />


Notable performers instructed in new playing techniques, and works by young composers (''Nachwuchskomponisten'') were offered in so-called ''Atelierkonzerte'' (Atelier concerts).
Notable performers instructed in new playing techniques, and works by young composers (''Nachwuchskomponisten'') were offered in so-called ''Atelierkonzerte'' (atelier concerts).


=== Internationales Musikinstitut Darmstadt ===
===Internationales Musikinstitut Darmstadt===
For the organisation of the event, the Internationales Musikinstitut Darmstadt was founded in 1948.<ref name="IMD" /> It also keeps an archive of past events and compositions.<ref name="IMD" /> It holds around 20,000 photographies, 10,000 letters, sound files and other documents, available online since 2016.<ref name="Hagedorn" /> The event is sponsored by several organisations, especially public broadcasters.
For the organisation of the event, the Internationales Musikinstitut Darmstadt was founded in 1948.<ref name="IMD" /> It also keeps an archive of past events and compositions.<ref name="IMD" /> It holds around 20,000 photographs, 10,000 letters, sound files and other documents, available online since 2016.<ref name="Hagedorn" /> The event is sponsored by several organisations, especially public broadcasters.<ref name="Program" />


=== {{anchor|Kranichsteiner Musikpreis}}Music prize ===
==={{anchor|Kranichsteiner Musikpreis}}Music prize===
A prize, the {{ill|Kranichsteiner Musikpreis|de}} was installed in 1952, first for performers, then also for composers.<ref name="Musikpreis" />
A prize, the {{ill|Kranichsteiner Musikpreis|de}} was installed in 1952, first for performers, then also for composers.<ref name="Musikpreis" />


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* 1996 [[Mark Andre]], [[Gerald Eckert]], [[Isabel Mundry]]
* 1996 [[Mark Andre]], [[Gerald Eckert]], [[Isabel Mundry]]
* 2000 [[Jennifer Walshe]]
* 2000 [[Jennifer Walshe]]
* 2002 Nam-Kuk Kim, {{ill|Martin Schüttler|de}}, Seth Wrightington
* 2004 [[Hans Thomalla]]
* 2004 [[Hans Thomalla]]
* 2006 [[Tatjana Kozlova-Johannes|Tatjana Kozlova]]
* 2008 [[Simon Steen-Andersen]]
* 2008 [[Simon Steen-Andersen]]
* 2010 [[Stefan Prins]]
* 2010 [[Stefan Prins]]
* 2014 [[Ashley Fure]]
* 2014 [[Ashley Fure]]


=== Criticism ===
===Criticism===
During the late 1950s and early 1960s the courses were charged with a perceived lack of interest on the part of some of its zealot followers in any music not matching the uncompromisingly modern views of Pierre Boulez—the "party subservience" of the "clique orthodoxy" of a "sect", in the words of [[Kurt Honolka]], written in 1962 in an effort to "make the public believe that the most advanced music of the day was no more than a fancy cooked up by a bunch of aberrant conspirators conniving at war against music proper." <ref name="Boehmer" />{{rp|43}} This led to the use of the phrase '[[Darmstadt School]]' (coined originally in 1957 by Luigi Nono<ref name="Nono" />{{rp|43}} to describe the [[Serialism|serial music]] being written at that time by himself and composers such as Boulez, Maderna, Stockhausen, Berio, and [[Henri Pousseur|Pousseur]]) as a pejorative term, implying a "mathematical," rule-based music.
During the late 1950s and early 1960s the courses were charged with a perceived lack of interest on the part of some of its zealot followers in any music not matching the uncompromisingly modern views of Pierre Boulez – the "party subservience" of the "clique orthodoxy" of a "sect", in the words of [[Kurt Honolka]], written in 1962 in an effort to "make the public believe that the most advanced music of the day was no more than a fancy cooked up by a bunch of aberrant conspirators conniving at war against music proper."<ref name="Boehmer" />{{rp|43}} This led to the use of the phrase "[[Darmstadt School]]" (coined originally in 1957 by Luigi Nono<ref name="Nono" />{{rp|43}} to describe the [[Serialism|serial music]] being written at that time by himself and composers such as Boulez, Maderna, Stockhausen, Berio, and [[Henri Pousseur|Pousseur]]) as a pejorative term, implying a "mathematical", rule-based music.


=== Recordings ===
===Recordings===
The courses presented in 70 years around 5,000 world premieres.<ref name="Hagedorn" /> The record label ''col legno'' has published recordings, often documenting world premieres (''Uraufführung'') and first performances in Germany (''Deutsche Erstaufführung'').
The courses presented in 70 years around 5,000 world premieres.<ref name="Hagedorn" /> The record label ''col legno'' has published recordings, often documenting world premieres and first performances in Germany.


== Note ==
==Notes==
{{notelist}}
{{notelist}}


== References ==
==References==
{{reflist
{{Reflist
| refs =
| refs =


<ref name="Applegate">{{cite book
<ref name="Applegate">{{cite book
| last = Applegate
| last1 = Applegate
| first = Celia
| first1 = Celia
| last2 = Potter
| last2 = Potter
| first2 = Pamela
| first2 = Pamela
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<ref name="Boehmer">{{cite book
<ref name="Boehmer">{{cite book
| last = Boehmer
| last = Boehmer
| first = Konrad
| first = Konrad|author-link=Konrad Boehmer
| title = The Sanctification of Misapprehension into a Doctrine: Darmstadt Epigones and Xenophobes
| title = The Sanctification of Misapprehension into a Doctrine: Darmstadt Epigones and Xenophobes
| translator-last = Prescod Jokel
| translator-last = Prescod Jokel
| translator-first = Sonia
| translator-first = Sonia
| date = 1987
| date = 1987
| <!--''Key Notes'' 24:43–47.}}-->
}}<!--''Key Notes'' 24:43–47.}}-->
}}</ref>
</ref>


<ref name="Eckle">{{cite news
<ref name="Eckle">{{cite news
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| date = 12 August 2016
| date = 12 August 2016
| language = de
| language = de
| accessdate = 12 March 2020
| access-date = 12 March 2020
}}</ref>
}}</ref>


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| first = Volker
| first = Volker
| url = https://www.zeit.de/2016/34/darmstaedter-ferienkurse-fuer-neue-musik-70-jahre-festival/komplettansicht
| url = https://www.zeit.de/2016/34/darmstaedter-ferienkurse-fuer-neue-musik-70-jahre-festival/komplettansicht
|url-access=registration
| title = Darmstädter Ferienkurse: Im Fruchtland
| title = Darmstädter Ferienkurse: Im Fruchtland
| newspaper = [[Die Zeit]]
| newspaper = [[Die Zeit]]
| date = 13 August 2016
| date = 13 August 2016
| language = de
| language = de
| accessdate = 12 March 2020
| access-date = 12 March 2020
|url-status=live |archive-url=https://web.archive.org/web/20240204224254/https://www.zeit.de/2016/34/darmstaedter-ferienkurse-fuer-neue-musik-70-jahre-festival/komplettansicht |archive-date= Feb 4, 2024
}}</ref>

<ref name="Iddon">{{cite book
| last = Iddon
| first = Martin
| title = New Music at Darmstadt: Nono, Stockhausen, Cage, and Boulez
| work = Music since 1900
| publisher = [[Cambridge University Press]]
| location = Cambridge and New York
| date = 2013
| isbn = 978-1-107-03329-0
| page = 31
}}</ref>
}}</ref>


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| location = Darmstadt
| location = Darmstadt
| language = de
| language = de
| accessdate = 12 March 2020
| access-date = 12 March 2020
}}</ref>
}}</ref>


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| editor-last = Stenzl
| editor-last = Stenzl
| editor-first = J.
| editor-first = J.
| authorlink = Luigi Nono
| author-link = Luigi Nono
| title = Texte, Studien zu seiner Musik
| title = Texte, Studien zu seiner Musik
| publisher = Atlantis
| publisher = Atlantis
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| location = Darmstadt
| location = Darmstadt
| language = de
| language = de
| accessdate = 12 March 2020
| access-date = 12 March 2020
}}</ref>
}}</ref>


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| title = Our Story
| title = Our Story
| website = Internationales Musikinstitut Darmstadt
| website = Internationales Musikinstitut Darmstadt
| accessdate = 12 March 2020
| access-date = 12 March 2020
}}</ref>
}}</ref>


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| url = https://kurse.miz.org/darmstaedter-ferienkurse-2020-k49852
| url = https://kurse.miz.org/darmstaedter-ferienkurse-2020-k49852
| title = Darmstädter Ferienkurse 2020 / Internationale Ferienkurse für Neue Musik
| title = Darmstädter Ferienkurse 2020 / Internationale Ferienkurse für Neue Musik
| website = Deutsches Musikinformationszentrum
| website = [[Deutsches Musikinformationszentrum]]
| date = 2020
| date = 2020
| language = de
| language = de
| accessdate = 12 March 2020
| access-date = 12 March 2020
}}</ref>
}}</ref>


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| title = Ferienkurse für internationale neue Musik, 25.8.-29.9. 1946
| title = Ferienkurse für internationale neue Musik, 25.8.-29.9. 1946
| language = de
| language = de
| date =
| website = Internationales Musikinstitut Darmstadt
| website = Internationales Musikinstitut Darmstadt
| pages = 1,27,33
| pages = 1, 27, 33
| accessdate = 6 February 2020
| access-date = 6 February 2020
}}</ref>
}}</ref>


}}
}}


===Sources===
⚫
== Further reading ==
* {{wikicite|ref={{harvid|Anon.|2006}}|reference=Anon. 2006. [https://www.dramonline.org/albums/earle-brown-selected-works-1952-1965/notes "Earle Brown: A Sketch"], liner notes to ''Earle Brown: Selected Works 1952–1965'', [[New World Records]]}}
* ''Darmstädter Beiträge zur Neuen Musik'', ed. IMD, Schott Music. {{ISSN|0418-3878}}<!-- Zwischen 1958 und 1994 wurden 20 Nummern (die zumeist Vorträge und Statistiken enthalten) herausgegeben. Hier sind grundlegende Schriften zur Neuen Musik erstmals erschienen. -->
* {{cite journal|last=Beal|first=Amy C.|title=An Interview with Earle Brown|journal=Contemporary Music Review|volume=26|number=3–4|date=June–August 2007|pages=341–356|doi=10.1080/07494460701414223|url=https://music.ucsc.edu/sites/default/files/EarleBrown.pdf}} Includes a photo of Brown and Bruno Maderna in Darmstadt.
* ''Von Kranichstein zur Gegenwart 1946 – 1996. 50 Jahre Darmstädter Ferienkurse'', Darmstadt 1996. {{ISBN|978-3871350283}}.<!-- Eine Art Katalog, die viele Erinnerungen und lebhafte Schilderungen Beteiligter aus den verschiedenen Dezennien der Kurse enthält. -->
* {{cite book|last=Iddon|first=Martin|year=2013|title=New Music at Darmstadt: Nono, Stockhausen, Cage, and Boulez|series=Music since 1900|location=Cambridge|publisher=Cambridge University Press|isbn=978-1-107-03329-0}}
* Gianmario Borio, Hermann Danuser (eds.): ''Im Zenit der Moderne'', 4 vol., Freiburg 1997. {{ISBN|978-3793091387}}.<!-- Umfangreiche Materialsammlung an Schlüsseltexten und Bildern, sowie einer detaillierten Dokumentation aller Seminare und Konzerte. -->
⚫
* ''MusikKonzepte Sonderband Darmstadt-Dokumente I'', Edition Musik und Kritik 1999. {{ISBN|978-3883774879}}


⚫
==Further reading==
⚫
== External links ==
* IMD (ed.): ''Darmstädter Beiträge zur Neuen Musik'' (Mainz: Schott Music, 1958ff.), {{ISSN|0418-3878}}.
{{Commonscat}}
* Rudolf Stephan (ed.): ''Von Kranichstein zur Gegenwart 1946–1996. 50 Jahre Darmstädter Ferienkurse'' (Stuttgart: DACO-Verlag, 1996), {{ISBN|978-3-87135-028-3}}.
⚫
* {{official|http://www.internationales-musikinstitut.de/ferienkurse}}
* Gianmario Borio, [[Hermann Danuser]] (eds.): ''Im Zenit der Moderne'', 4 vols. (Freiburg: Rombach, 1997), {{ISBN|978-3-7930-9138-7}}.
⚫
* ''MusikKonzepte Sonderband Darmstadt-Dokumente I'' (Munich: edition text und kritik, 1999), {{ISBN|978-3-88377-487-9}}.

⚫
==External links==
{{Commons category}}
⚫
* {{official website|http://www.internationales-musikinstitut.de/ferienkurse}}
* [[Karlheinz Essl Jr.|Karlheinz Essl]]: [http://www.essl.at/bibliogr/darmstadt.html Darmstadt in den 90er Jahren?] (in German) in ''MusikTexte'' No. 35 (1990)
* [[Karlheinz Essl Jr.|Karlheinz Essl]]: [http://www.essl.at/bibliogr/darmstadt.html Darmstadt in den 90er Jahren?] (in German) in ''MusikTexte'' No. 35 (1990)

{{Portal bar|Classical music}}
{{Authority control}}


[[Category:20th century in music]]
[[Category:20th century in music]]
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[[Category:Modernism (music)]]
[[Category:Modernism (music)]]
[[Category:Music festivals in Germany]]
[[Category:Music festivals in Germany]]
[[Category:Music in Hesse]]

Latest revision as of 18:36, 16 March 2024

Darmstädter Ferienkurse
Course with Karlheinz Stockhausen in 1957
GenreContemporary classical music in courses and concerts
Frequency
  • annually 1946 to 1970
  • bi-annually from 1972
Location(s)Darmstadt, many locations
Inaugurated1946; 78 years ago (1946)
FounderWolfgang Steinecke
Participants
  • Composers
  • Performers
  • Music theorists
  • Philosophers
Patron(s)City of Darmstadt, Staatstheater, broadcasters
Websitewww.internationales-musikinstitut.de/ferienkurse

Darmstädter Ferienkurse ("Darmstadt Summer Course")[a] is a regular summer event of contemporary classical music in Darmstadt, Hesse, Germany. It was founded in 1946, under the name "Ferienkurse für Internationale Neue Musik Darmstadt" (Vacation Courses of International New Music in Darmstadt),[1] as a gathering with lectures and concerts over several summer weeks. Composers, performers, theorists and philosophers of contemporary music met first annually until 1970, and then biennially. The event was organised by the Kranichsteiner Musikinstitut, which was renamed Internationales Musikinstitut Darmstadt (IMD). It is regarded as a leading international forum of contemporary and experimental music with a focus on composition.[2][3] The festival awards the Kranichsteiner Musikpreis [de] for performers and young composers.

History

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Overview

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Wolfgang Steinecke in 1957

The Ferienkurse were initiated in 1946 by Wolfgang Steinecke, then responsible for culture in the municipal government of Darmstadt.[4] He directed them until his death in 1961, succeeded by Ernst Thomas [ru] (1962–81), Friedrich Ferdinand Hommel (1981–94), Solf Schaefer (1995–2009), and Thomas Schäfer, who has been artistic director and president of the IMD from 2009.[4]

The courses were first held annually, lasting for about twelve days. From 1970, they have been held biennially for two to three weeks.[4] The first venue was Jagdschloss Kranichstein, a rural hunting lodge in Darmstadt. Beginning in 1949, public buildings in Darmstadt have been used not only for some concerts as in the beginning, but also for courses.[5]

Background

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The Ferienkurse were founded to reconnect Germany to the international scene in classical music, as modernist forms of classical music (such as expressionist music, the Second Viennese School and serialism) had been systematically suppressed by the Nazis from 1933 as "degenerate music".[1][6] During that time, representatives of the modernist movement had been expelled, silenced, or murdered.[7]

Beginning

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The first event in 1946 offered courses in conducting by Carl Mathieu Lange, musical composition by Wolfgang Fortner, piano by Georg Kuhlmann, voice by Elisabeth Delseit, violin by Günter Kehr, opera direction by Bruno Hey and Walter Jockisch, and music criticism by Fred Hamel.[5]

A first series were courses, lectures and concerts from 25 August to 21 September. They were followed by public concerts and lectures, titled "Internationale zeitgenössische Musiktage" (International contemporary music days) from 22 to 29 September, held in collaboration with the city of Darmstadt, its Landestheater, and the broadcasters Süddeutscher Rundfunk and Radio Frankfurt.[5] Events included an exhibition of the Neue Darmstädter Sezession, "Zeitgenössische deutsche Kunst", and also Carl Orff's opera Die Kluge, and the award ceremony of the Georg Büchner Prize to Fritz Usinger. Concerts presented several world premieres, such as Erich Sehlbach [de]'s string sextet, Fortner's für Klavier, Günter Raphael's sonata for solo flute, a trio for flute, viola and cello by Günter Bialas (1923), Henze's Kranichsteiner Kammerkonzert for flute, piano and strings, and Hölderlin-Lieder by Hermann Reutter. Willy Burkhard's Symphonie in einem Satz (1944) and Hindemith's String Quartet No. 6 (1943) received their first performance in Germany.[5]: 5–8 

During the first years of the event, a focus was on German premieres of works, sometimes decades after their composition, by composers such as Arnold Schönberg, Anton Webern, Igor Stravinsky and Béla Bartók.[1][5] Schoenberg's Piano Concerto was played in 1948,[5]: 15  and his String Quartet No. 4 in 1949.[5]: 21  That year, a symphony concert was dedicated exclusively to Schoenberg's works, including the German premiere of his Violin Concerto, honouring his 75th birthday.[5]: 22  The 70th birthday of Webern was honoured with a concert of his chamber music in 1953.[5]: 47 

It was the first forum of contemporary music in Germany after World War II, including music theory and philosophy.[6] Lectures were held by instructors such as Theodor W. Adorno, René Leibowitz, Heinz-Klaus Metzger, and later Carl Dahlhaus and Rudolf Stephan, offering critical reflection of advanced composition. Composers such as Edgard Varèse, Olivier Messiaen,[b] Ernst Krenek, Earle Brown[9][10] and John Cage visited, presenting their work and aesthetic in composition classes, and contributing to worldwide recognition of the institution.[6][11]

Darmstadt School

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Main article: Darmstadt School
Luigi Nono and Karlheinz Stockhausen in 1957

Composers such as, initially, Karlheinz Stockhausen, Pierre Boulez, Luigi Nono, Bruno Maderna, and later Luciano Berio, Aldo Clementi, Franco Donatoni, Niccolò Castiglioni, Franco Evangelisti, Karel Goeyvaerts, Mauricio Kagel, Gottfried Michael Koenig, Giacomo Manzoni, Henri Pousseur, Helmut Lachenmann, and Brian Ferneyhough presented their radical approach and theories. They are sometimes referred to as the "Darmstädter Schule" (Darmstadt School).[6]

Notable performers instructed in new playing techniques, and works by young composers (Nachwuchskomponisten) were offered in so-called Atelierkonzerte (atelier concerts).

Internationales Musikinstitut Darmstadt

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For the organisation of the event, the Internationales Musikinstitut Darmstadt was founded in 1948.[12] It also keeps an archive of past events and compositions.[12] It holds around 20,000 photographs, 10,000 letters, sound files and other documents, available online since 2016.[7] The event is sponsored by several organisations, especially public broadcasters.[5]

Music prize

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A prize, the Kranichsteiner Musikpreis [de] was installed in 1952, first for performers, then also for composers.[3]

Recipients include performers (with their instrument listed) and composers:[13]

Criticism

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During the late 1950s and early 1960s the courses were charged with a perceived lack of interest on the part of some of its zealot followers in any music not matching the uncompromisingly modern views of Pierre Boulez – the "party subservience" of the "clique orthodoxy" of a "sect", in the words of Kurt Honolka, written in 1962 in an effort to "make the public believe that the most advanced music of the day was no more than a fancy cooked up by a bunch of aberrant conspirators conniving at war against music proper."[14]: 43  This led to the use of the phrase "Darmstadt School" (coined originally in 1957 by Luigi Nono[15]: 43  to describe the serial music being written at that time by himself and composers such as Boulez, Maderna, Stockhausen, Berio, and Pousseur) as a pejorative term, implying a "mathematical", rule-based music.

Recordings

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The courses presented in 70 years around 5,000 world premieres.[7] The record label col legno has published recordings, often documenting world premieres and first performances in Germany.

Notes

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  1. ^ literally: Darmstadt Vacation Courses
  2. ^ However, although Messiaen paid "a brief visit" to the courses in 1949, "he neither taught students nor lectured" there.[8]

References

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  1. ^ a b c Applegate, Celia; Potter, Pamela (2002). Music and German National Identity. University of Chicago Press. pp. 209–210. ISBN 978-0-22-602131-7.
  2. ^ "Darmstädter Ferienkurse 2020 / Internationale Ferienkurse für Neue Musik". Deutsches Musikinformationszentrum (in German). 2020. Retrieved 12 March 2020.
  3. ^ a b Krebber, Jürgen. "Kranichsteiner Musikpreis". darmstadt-stadtlexikon.de (in German). Darmstadt. Retrieved 12 March 2020.
  4. ^ a b c Krebber, Jürgen. "Internationale Ferienkurse für Neue Musik". darmstadt-stadtlexikon.de (in German). Darmstadt. Retrieved 12 March 2020.
  5. ^ a b c d e f g h i j "Ferienkurse für internationale neue Musik, 25.8.-29.9. 1946" (PDF). Internationales Musikinstitut Darmstadt (in German). pp. 1, 27, 33. Retrieved 6 February 2020.
  6. ^ a b c d Eckle, Barbara (12 August 2016). "70 Jahre Darmstädter Ferienkurse für Neue Musik Stockhausen, Nono und die anderen". Der Tagesspiegel (in German). Retrieved 12 March 2020.
  7. ^ a b c Hagedorn, Volker (13 August 2016). "Darmstädter Ferienkurse: Im Fruchtland". Die Zeit (in German). Archived from the original on Feb 4, 2024. Retrieved 12 March 2020.
  8. ^ Iddon 2013, p. 31.
  9. ^ Anon. 2006.
  10. ^ Beal 2007.
  11. ^ Iddon 2013, p. 196.
  12. ^ a b "Our Story". Internationales Musikinstitut Darmstadt. Retrieved 12 March 2020.
  13. ^ "Kranichsteiner Musikpreis Chronologie" (PDF). Darmstadt: Internationales Musikinstitut Darmstadt. Retrieved 13 March 2020.
  14. ^ Boehmer, Konrad (1987). The Sanctification of Misapprehension into a Doctrine: Darmstadt Epigones and Xenophobes. Translated by Prescod Jokel, Sonia.
  15. ^ Nono, Luigi (1975). Stenzl, J. (ed.). Texte, Studien zu seiner Musik (in German). Zürich and Freiburg im Breisgau: Atlantis.

Sources

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  • Anon. 2006. "Earle Brown: A Sketch", liner notes to Earle Brown: Selected Works 1952–1965, New World Records
  • Beal, Amy C. (June–August 2007). "An Interview with Earle Brown" (PDF). Contemporary Music Review. 26 (3–4): 341–356. doi:10.1080/07494460701414223. Includes a photo of Brown and Bruno Maderna in Darmstadt.
  • Iddon, Martin (2013). New Music at Darmstadt: Nono, Stockhausen, Cage, and Boulez. Music since 1900. Cambridge: Cambridge University Press. ISBN 978-1-107-03329-0.

Further reading

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  • IMD (ed.): Darmstädter Beiträge zur Neuen Musik (Mainz: Schott Music, 1958ff.), ISSN 0418-3878.
  • Rudolf Stephan (ed.): Von Kranichstein zur Gegenwart 1946–1996. 50 Jahre Darmstädter Ferienkurse (Stuttgart: DACO-Verlag, 1996), ISBN 978-3-87135-028-3.
  • Gianmario Borio, Hermann Danuser (eds.): Im Zenit der Moderne, 4 vols. (Freiburg: Rombach, 1997), ISBN 978-3-7930-9138-7.
  • MusikKonzepte Sonderband Darmstadt-Dokumente I (Munich: edition text und kritik, 1999), ISBN 978-3-88377-487-9.
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