What is old fashioned instrumental music

em. o. Univ.-Prof. Dr. Reinhard Kapp


University professor emeritus at the Institute for Musicology and Interpretation Research

Room C 04 13
Seilerststätte 26, A-1010 Vienna

kapp [at] mdw.ac.at

»Courses (MDWonline)

»CV | »Publications | »Held courses

 

curriculum vitae

  • Born in 1947 on May 13th in Hof / Saale
  • Attended elementary school and the humanistic Jean-Paul-Gymnasium in Hof
  • Private organ and piano studies
  • Since his school days, he has worked as a music journalist and has modest concert experience as a piano player, organist and conductor
  • Participation in the international summer courses for new music in Darmstadt
  • 1966 Abitur
  • 1966/67 studied in Heidelberg: musicology (with Messrs. Hammerstein, Hermelink, Jammers, Seidel, Stephan) and philosophy (Gadamer, Tugendhat); then at the Free University of Berlin: Musicology with Prof. Dr. Rudolf Stephan (also: Brinkmann, Zaminer and others), minor subjects Philosophy and Religious Studies (Peter Furth and Klaus Heinrich)
  • Funding by the German National Academic Foundation
  • 1974 master's degree
  • 1974-79 part-time assistant at the Musicological Institute of the Free University of Berlin
  • 1974-78 annual participation (active - as pianist - and passive) in the Mödlinger Schönberg seminar by Rudolf Kolisch
  • Freelance work
  • 1981-83 teaching position for practical liturgy and literary studies at the Berlin University of the Arts
  • 1982 PhD with a thesis on Schumann's late work
  • 1983-92 editor at the Richard Wagner Research Center in Munich
  • 1983/84 visiting professor at the University of Kassel
  • 1991 teaching position at the musicological institute of the Ludwig Maximilians University in Munich
  • Since winter semester 1992/93 full professor for music history at the Hochschule (now university) for music and performing arts in Vienna
  • 2009 Robert Schumann Prize of the City of Zwickau (together with Michael Struck)


Publications (in chronological order)

 

  • Counterpoint, in: Olav Münzberg / Lorenz Wilkens (eds.), Attention. Festschrift for Klaus Heinrich, Frankfurt / M. 1979, pp. 251-259
  • (Ed. Together with Regina Busch and Károly Csipák :) Rudolf Kolisch and René Leibowitz, performance problems in Beethoven's violin concerto, in: Musica 33 (1979) 148-155
  • Musical finds: Schumann, Canon from op.118,2, in: NZfM 1981
  • Robert Schumann, Symphony No. 3 in E flat major, op. 97 “Rhenish”. Introduction and analysis (and revision of the score), (Schott / Goldmann) 1981. Score pp. 7-164, text pp. 165-235
  • (together with Károly Csipák :) Träumerei, in: Musica 35 (1981) 438-443
  • Scenes from the scientific nursery (literature on Schumann's op.15), in: Musica 35 (1981) 476-478; Recent Schumann literature, ibid. Pp. 478-479; New Schumann editions, ibid. P. 480
  • Schumann reminiscences in Mahler, in: ÖMZ 37 (1982) 241-248
  • Robert Schumann: Symphony No. 4 in D minor op.120, in: NZfM 143 (1982) H.6 / 7, pp. 54-56
  • (Ed. :) Notebook 5/6. Musik, Berlin-Wien 1982. 286 pp. - therein: Foreword pp. 6-8; Again: tendency of the material pp. 253-281; the latter also »online
  • The Schumann Orchestra, in: Music Concepts Special Volume Robert Schumann II, Munich 1982, pp. 191-236
    • Russian in: Orkestr Instrumenty Partitura, Moskwa 2003, pp. 36-85
  • Studies on Robert Schumann's late work, Tutzing 1984, 303 pp.
  • (Rez. :) Arnfried Edler, Robert Schumann und seine Zeit, in: ÖMZ 39 (1984) 559-560
  • 23 theses concerning musical analysis and interpretation, in: ÖMZ 41 (1986)
  • News from bourgeois family life (review :) Beatrix Borchard, Robert Schumann and Clara Wieck. Conditions for artistic work in the first half of the 19th century, in: Musica 40 (1986) 266-267
  • The shadows of the archetype of the double. Careful approach to a FIGURE: René Leibowitz, in: Musiktheorie 1986
    • English: Shades of the Double's Original. René Leibowitz's dispute with Boulez, in: Tempo 1988
  • From the language of the soul, in: ÖMZ 2 (1987)
    • also in: Kamper / Wulf (eds.), Die erloschene Seele (= historical anthropology 1), Bln. 1988, pp. 255-268
  • Epoch thresholds in the history of counterpoint theory, in: Dietrich Berke / Dorothea Hanemann (eds.), Early Music as Aesthetic Present. Bach-Handel-Schütz (Congress Report Stuttgart 1985), 2 volumes, Kassel 1987, Vol. 2, pp. 230-233
  • Interpreters in Darmstadt - The example of Kolisch, in: F. Hommel / H. Schlüter (ed.), Reader “Darmstadt in Amsterdam” (Musique pure dans une siècle sale) for internal distribution, Darmstadt
    • also in Hommel / Schlüter (eds.), Darmstadt in Milano: Logica e poesia. Darmstadt ieri e oggi. Testi - Immagini - Omaggi
  • Materials for a directory of the writings of René Leibowitz, in: Musiktheorie 2 (1987) H. 3, S. 275ff.
  • Tempo and character in Schumann's music, in: Mayeda / Niemöller (eds.), Schumanns Werke - Text and Interpretation, Mainz 1987, pp. 193-222
  • Schumann reminiscences in Mahler (significantly expanded and revised version of the essay of the same name in 1982), in: Musik-Concepts Sonderband Gustav Mahler, Munich 1989, pp. 325-361
  • (on the so-called orchestral sketch for the Tannhäuser overture by Richard Wagner), in: G. Brosche (ed.), Contributions to musical source studies. Catalog of the Hans P. Wertitsch collection in the music collection of the Austrian National Library, Tutzing 1989, pp.466-472
    • abridged and partially changed in: Günter Brosche (ed.), Musicians' manuscripts from Heinrich Schütz to Wolfgang Rihm, Stuttgart 2002, p. 82
  • A Leibowitz manuscript in the Schönberg House (Mödling), in: International Schönberg Society. Announcements No 3/4
  • About some common mistakes in the performance of Schumann's music - using the example of the piano concerto op.54, in: Schumann-Studien 2, Zwickau 1989
    • Croatian in: Tonovi 32, Zagreb 1998, 13 (2), p. 3ff.
  • Lobgesang [on Mendelssohn's op.52 in the history of the symphony], in: New Music and Tradition. Festschrift Rudolf Stephan on the occasion of his 65th birthday, Laaber 1990, pp. 239-249
  • Rudolf Kolisch - The construction of the Viennese Espressivo, in: Contributions '90. Austrian Musicians in Exile (= contributions from the Austrian Society for Music, Volume 8), Kassel (1991), pp. 103-110
  • Cage, John, in: Horst Weber (ed.), Metzler composers lexicon. 340 factory history portraits, Stuttgart pp. 1992, pp. 122-130
    • (without printing errors :) PHREN 5.-17. Annual meeting 1981-1994. Documentation Part I, (Phren-Verlag Nymphenburger Strasse 121) Munich 1994, pp. 47-60; also in: Metzler composers lexicon, 2Stuttgart 2003, pp. 95-103; also in: Horst Weber (ed.), composers. 58 Portraits from the Middle Ages to the Present, Stuttgart pp. 2004, pp. 56-66
  • Performance notes for the finale of Schumann's Violin Concerto, in: Correspondenz. Announcements from the Robert Schumann Society, Düsseldorf No. 14, July 1992, pp. 7-14
  • Wagner's Beethoven - an epoch in the history of musical interpretation, in: Otto Kolleritsch (ed.), Beethoven and the second Viennese school (= studies on valuation research, vol. 25), Vienna / Graz 1992, pp. 122-138
  • 'Tradition' and 'sloppiness'. Mahler's assignment: Conditions and consequences, in: J. Nautz / R. Vahrenkamp (ed.), The turn of the century in Vienna (= studies on politics and administration 46), Vienna pp. 1993, pp. 650-673
  • Schumann after the revolution. Preliminary considerations, statements, notes, materials, questions, in: Bernhard B. Appel (ed.), Schumann in Düsseldorf. Works - Texts - Interpretations (= Schumann Research 3), Mainz pp. 1993, pp. 315-415
  • (Ed.) Richard Wagner, Complete Works Volume 16: Choral Works, with a documentation on the topic: Wagner and the choir and on Wagner's choral works, Mainz 1993. 458 pp.
  • Wagner's Dresdner Chorwerke and the Hofoper choir, in: Berlin Contributions to Musicology. Supplement z. H.3 / 1993 d. Neue Berlinische Musikzeitung, pp. 5-21
  • The "original arrangement" of the pilgrim choir from Wagner's Tannhäuser "for the Vienna Men's Singing Association", in: ÖMZ 47 (1993) 544-552
  • On the current status of musical interpretation, in: Rudolf Stephan / Wsewolod Saderatzkij (ed.), Music Culture in the Federal Republic of Germany. Symposium Leningrad 1990, Kassel 1994, pp. 329-337
    • Russian: das. pp. 337-345
  • (Rez. :) Hermann Danuser (ed.), Musical Interpretation (= New Handbook of Musicology 11), in: ÖMZ 50 (1995) 158-162
  • A school of performance, in: Internationale Musikforschungsgesellschaft (ed.), Pupil of the Vienna School. A program book by the Wiener Konzerthaus as part of the audio courses 1995, pp. 14-24
  • (Ed. Together with Markus Grassl), Darmstadt Talks. The international summer courses for new music in Vienna (= Viennese publications on music history, Vol.1), Vienna pp. 1996. 395S. - therein: Introduction P.XI-XLV, Conversations P. 3-217
  • René Leibowitz in Darmstadt, in: Internationales Musikinstitut Darmstadt (ed.), From Kranichstein to the present. 1946-1996 - 50 years of Darmstadt summer courses, Stuttgart 1996, pp. 77-85
  • Just one more complete shot? Michael Gielen's Beethoven project with the SWF Symphony Orchestra, in: Jürg Stenzl (ed.), Orchester Kultur. Variations over half a century. On the occasion of the 50th birthday of the SWF Symphony Orchestra, Stuttgart and Weimar 1996, pp. 74-80
  • The position of Schönberg in the history of performance theory, in: Rudolf Stephan and Sigrid Wiesmann (eds.), Report on the 3rd Congress of the International Schönberg Society "Arnold Schönberg - Innovators of Music", Vienna 1996, pp. 85-101
  • (Ed.), Robert Schumann, Davidsbündlertänze op.6 (Wiener Urtext Edition UT 50098) Schott-UE 1997
  • Notes on Claudio Monteverdi / Alessandro Striggio's Favola in musica “L'Orfeo”, in: Festschrift for the 70th birthday of Helmut Berninger, Munich (Phren-Verlag) 1997, p. 42ff.
  • Chronological index (in progress) of the operas, cantatas, instrumental music, plays and literary texts related or to be related to Orpheus, in: Talismane. Festschrift for Klaus Heinrich's 70th birthday, Frankfurt / M. 1998, pp. 425-457; continuously expanded version »online
  • Arnold Schoenberg. Four short historiographical experiments with old-fashioned terms, in: ÖMZ 53 (1998) 3/4, pp. 32-42
  • Schönberg's “Association” and the crisis of the musical public, in: Rudolf Flotzinger (ed.), Fremdheit in der Moderne (= Studies on Modernism 3), Vienna 1999 (published 1998), p. 23ff.
  • (Rez. :) Claus-Steffen Mahnkopf, Critique of New Music. Design of a music of the 21st century. A pamphlet, Kassel 1998 - in: ÖMZ53 (1998) 4ff.
  • (together with Regina Busch), tempo questions with Anton Webern, in: Jean-Jacques Dünki pp. (Ed.), The degree of movement. Temporary ideas and concepts in composition and interpretation 1900-1950 (= Basel Studies on Music in Theory and Practice 1), Basel 1998, pp. 185-201
  • Webern's Politics, in: Hartmut Krones (ed.), Anton Webern. Personality between art and politics (= Viennese writings on stylistics and performance practice special volume 2), Vienna pp. 1999, p. 121ff.
  • Theories about the musical performance in Wagner's “Meistersingern” and Schönberg's “Moses und Aron”, in: Christian Meyer (eds.), Schönberg and Wagner. 3. Wagner Days in Graz - Report on the symposium October 3, 1998, Vienna 1998, p. 42ff.
  • (Statement on Hans Swarowsky), in: ÖMZ 55 (2000) 3, 13f.
  • (together with Regina Busch, Thomas Schäfer), The "Association for Private Musical Performances", in: Arnold Schönbergs Wiener Kreis (= Journal of the Arnold Schönberg Center 2/2000), p. 77ff.
  • The role of music history and musicology in composer education, in: Nadà Hrcková (ed.), Slowvenskí Skladatelia I / Slovak composers I. International Colloquium October 28-31, 1998, Bratislava 2000, p. 121ff.
  • On Eisler's first studies on twelve-tone rows: Palmström op.5, in: Harald Goertz (ed.), Hanns-Eisler-Symposion (= contributions from the Austrian Society for Music 10), Kassel pp., P. 56ff.
  • Zemlinsky as conductor, in: Hannes Grossek, Thomas Reischl (eds.), Zeit-Wart Gegen-Geist. Contributions on phenomena of the culture of our time (Festschrift Sigrid Wiesmann), Vienna-Sidney 2001, p.171ff.
  • Resurrectio mortuorum in liturgy and concert, in: Carmen Ottner (ed.), Apocalypse. Symposium 1999 (= studies on Franz Schmidt 13), Vienna 2001
  • (Ed. Together with Markus Grassl), The teaching of musical performance in the Viennese school. Negotiations of the International Colloquium Vienna 1995 (= Viennese publications on the history of music 3), Vienna 2002 - therein: performance with Schönberg and Cage; (together with Grassl :) Foreword; Introduction; Appendix: Biographies from the Vienna School, list of editions and arrangements by members of the Vienna School
  • Theses on early polyphony, in: Dominik Schweiger / Michael Staudinger / Nikolaus Urbanek (eds.), Music science at its limits. Manfred Angerer on his 50th birthday, Frankfurt / M. pp. 2004, pp. 13-32
  • Schönberg's “proposal for the establishment of a contemporary music teaching institute” for the Soviet Union. With the text of the synopsis and the first print of all preparatory notes; (Ed. :) Arnold Schönberg, Exposés / A music institute, in: Zwischenwelt. Journal for the Culture of Exile and Resistance 21 (2005) No. 3/4, pp. 67-69, 76f. (Remarks); 69-77 (Schönberg)
  • Werk und Geschichte (as a kind of introduction), in: Thomas Ertelt (ed.), Werk und Geschichte. Musical analysis and historical draft. Rudolf Stephan on his 75th birthday, Mainz pp. 2005, pp. 7-48
  • Consequences of emigration, prerequisites for re-migration - viewed from a performance-historical perspective; Michael Gielen in conversation, in: Maren Köster / Dörte Schmidt (eds.), You never return, you always leave. Remigration and Music Culture Munich 2005, pp.174-231; 239-241 (preliminary remarks on the conversation); Conversation with Michael Gielen on the enclosed CD
  • The Schumann Generation, in: Matthias Wendt (eds.), Robert and Clara Schumann and the national musical cultures of the 19th century (= Schumann Research 9), Mainz pp. 2005, pp. 47-94
  • On the status of the treatment of Orpheus material in the twenties, in: Jürg Stenzl (eds.), Ernst Krenek, Oskar Kokoschka and the story of Orpheus and Eurydice (= Ernst Krenek Studies 1), Schliengen 2005, pp. 33-47
  • Symphony No. 2 in C major op., In: Helmut Loos (ed.), Robert Schumann. Interpretations of his works. 2 vol., Laaber 2005, pp. 386-403 NB SENSE-MAKING ERROR: p.399, 2nd paragraph, lines 10-12 it must read: "The issues that were raised in the exposition are not contested."
  • Mozart: Vorromantik ?, in: Herbert Lachmayer (ed.), Mozart. Experiment Enlightenment in Vienna at the end of the 18th century. Volume of essays on the Mozart exhibition, Ostfildern 2006, pp. 345-58 NB: NUMEROUS PRINT ERRORS
  • About sentence connections in the (not only late) Schumann, in: Music Concepts New Series. Special volume: Der late Schumann, Munich 2006, pp. 153-161, 216
  • (Ed. Together with Markus Grassl and Cornelia Szabò-Knotik), Announcements 2006. Austrian music history of the post-war period (= Announcements. Wiener Jahrbuch für Musikwissenschaft 1), Vienna 2006
  • On the ideal of the good musician, in: Joachim Kremer / Dörte Schmidt (eds.), Between bourgeois culture and academy. On the professionalization of music education in Stuttgart since 1857 (= Forum Musikwissenschaft 2), Schliengen 2007, pp. 11-60
  • Schumann in his time and since, in: Beate Perrey (ed.), The Cambridge Companion to Schumann, Cambridge pp. 2007, pp. 223-251
    • German original version: Schumann for future generations, in: www.musikgeschichte.at/beitraege.htm
  • Leopold Spinner “Cantata op.20 based on German folk song texts”, in: Österreichische Musikzeitschrift 62 (2007) 35-3
  • Improvisation as composing. About the music of the PHREN ensemble; Compilations on life and work (biography, phonogram directory, bibliography), in: Festschrift for the 70th birthday of Michael Kopfermann, Munich 2007, pp. 102-108; 193-203
  • Score image and musical text translated into sound. On the musical performance (an appendix: Hear with your eyes, recognize with your ears. Rudolf Kolisch's Theory of Performance), in: Gabriele Leupold / Katharina Raabe (eds.), Dancing in chains. Translation as interpretive art, Göttingen 2008, pp. 199-233
  • (Eds. Together with Markus Grassl and Eike Rathgeber), Austria's New Music after 1945: Karl Schiske (= Viennese publications on the history of music 7), Vienna / Cologne / Weimar 2008; therein: introduction; The young Schiske. Composing and studying until 1945, pp. 12-27; 99-137
  • An Austrian conductor and the music of the Vienna School, in: Lars E. Laubhold / Jürg Stenzl (eds.), Herbert von Karajan (1908-1989). The conductor in the light of a history of musical interpretation, Salzburg / Vienna / Munich 2008, pp. 133-156
  • On the history of musical expression, in: Claus Bockmaier (ed.), Contributions to the aesthetics of interpretation and the discussion of hermeneutics (= writings on musical hermeneutics 10), Laaber 2009 (published at the end of 2008), pp. 143-179
  • John Cage and Fluxus - historical and theoretical, in: Hartmut Krones (ed.), Multicultural and International Concepts in New Music (= Viennese writings on stylistics and performance practice - special series “Symposia on WIEN MODERN” 4), Vienna / Cologne / Weimar 2008 (published January 2009), pp. 159-173
  • Joachim, Brahms and musical academism, in: Michele Calella / Christian Glanz (eds.), Joseph Joachim (1831-1907): European citizen, composer, virtuoso (= ANKLAENGE Wiener Jahrbuch für Musikwissenschaft 2008), Vienna 2008, p. 69 -93
  • Joachim - Schumann: The compositional situation around 1850, in: Beatrix Borchard / Heidy Zimmermann (eds.), Musikwelten - Lebenswelten. The search for Jewish identity in German music culture, Cologne / Weimar / Vienna 2009, pp. 193-213
  • Early music and avant-garde. On the relationship between the history of performance and composition, in: Barbara Boisits / Ingeborg Harer (eds.), Early Music in Austria. Research and Practice since 1800 (= New Contributions to Performance Practice 7), Vienna 2009, pp. 309-341
  • On the position of the conductor. Performance history mishaps, in: Julia Bungardt et al. (Ed.), Viennese Music History. Approaches - Analyzes - Outlooks. Festschrift for Hartmut Krones, Vienna / Cologne / Weimar 2009, pp. 295-336
  • Sound direction in the Dresden choral works by Schumann, in: Thomas Synofzik / Hans-Günter Ottenberg (eds.), Schumann in Dresden. Report on the symposium Robert and Clara Schumann in Dresden - Biographical, Composition History and Sociocultural Aspects in Dresden from May 15 to 18, 2008 (= Studies on Dresden Musical Life in the 19th Century 1), Cologne 2010, pp. 167-187
  • Always new dimensions. Michael Kopfermann and the PHREN-Ensemble, in: MusikTexte 127 (December 2010) 21-23
  • Motif and shape shifts and changes between the early Orpheus operas, in: Dorothea Redepenning / Joachim Steinheuer (eds.), Staging through music. The composer as a director. Liber amicorum for Silke Leopold, Kassel pp. 2011, pp. 129-156
  • (Ed. Together with Marie-Agnes Dittrich), ANKLENGE (Wiener Jahrbuch für Musikwissenschaft) 2010. Does it still exist:, the ‘music? Preliminary considerations for a general music theory, Vienna 2011; therein: foreword and introduction (together with Marie-Agnes Dittrich); Conversation with Simha Arom (with the participation of Marie-Agnes Dittrich and Primavera Gruber); Conversation with Diedrich Diederichsen; Conversation with Karlheinz Essl, pp.7-26; 29-42; 59-87; 89-108
  • Record and, record ‘of music. On the historical conditions of a technologically supported interpretation analysis, in: Heinz von Loesch / Stefan Weinzierl (eds.), Measured Interpretation. Computer-aided performance analysis in cross-examination of the disciplines (= sound and concept. Perspectives of musical theory and practice 4), Mainz 2011, pp.39-63
  • Two Viennese schools: Freud and Schönberg, in: Federico Celestini / Gregor Kokorz / Julian Johnson (eds.), Musik in der Moderne / Music and Modernism (= Viennese publications on the history of music 9), Vienna pp. 2011, pp.221-241
  • Schönberg's writings: Editions, plans, fragments, in: Hartmut Krones (ed.), Arnold Schönberg in his writings. Directory - questions - editorial (= writings of the Arnold Schönberg Science Center 3), Vienna pp. 2011, pp.21-43
  • Interpretation, reproduction, in: Richard Klein, Johann Kreuzer, Stefan Müller-Doohm (eds.), Adorno-Handbuch. Life - Work - Effect, Stuttgart-Weimar 2011, pp. 145-156
  • (Review :) Andreas Haug / Andreas Dorschel (eds.), On the price of progress. Profit and loss in music history (= studies on valuation research 49), Vienna 2008, in: Musicologica Austriaca 30 (2011) 200-216
  • Adorno's theorem of the “tendency of the material” and the composers, in: Wolfgang Birtel / Christoph-Hellmut Mahling (eds.), “Dauerkrise in Darmstadt?” New music in Darmstadt and its reception at the end of the 20th century (= contributions to Middle Rhine Music History 43), Mainz pp. 2012, pp. 179-211
  • (Ed. Together with Marie-Agnes Dittrich, Martin Eybl :) Cycle and process. Joseph Haydn and time (= Viennese publications on music history), Vienna-Cologne-Weimar 2012, therein: Haydn's personal experience of time, pp. 25-68
  • Choral works, in: Laurenz Lütteken (ed.), Wagner Handbuch, Kassel 2012. pp. 268-274
  • (1.) Schumann as violin composer (2.) On the position of the internal movements in Schumann's Third Violin Sonata, in: Andreas Meyer (ed.), Robert Schumann - das Spätwerk für Strreicher (= Stuttgarter Musikwissenschaftliche Schriften 2), Mainz pp. 2012, p 13-31; 187-194
  • New music and film until 1930. Interdependencies beyond application, in: MusikTheorie 27 (2012) 3, 197-212
  • Old music in editing mode. Theses on the (early) history of the early music movement, in: Dieter Torkewitz (ed.), In the shadow of the work of art II. Theory and interpretation of the musical work of art in the 19th century (= Viennese publications on the theory and interpretation of music 2) , Vienna 2014, pp. 281-291
  • Text and paratext in Schumann's editions of his compositions, in: Jean-Jacques Dünki (ed.), Schumann interpret, Sinzig 2014, pp. 479-557
  • Symphonies and related items from members of the Vienna School. Directory and commentary, in: Carmen Ottner (ed.), The End of the Symphony in Austria and Germany (1900-1945). Symposium 2012 (= studies on Franz Schmidt 17), Vienna 2014, pp. 117-139 (NB: By mistake, Jósef Koffler also found himself among the direct Schoenberg students; there it is to be deleted)
  • Poetry in music, poetry in music, poetic music: What does that mean ?, in: Thomas Synofzik (ed.), Schumann-Studien 11, Sinzig 2015, pp. 159-221
  • Mahler - Zemlinsky - Schönberg, in: Christian Meyer (ed.), Der Junge Schönberg in Wien (Journal of the Arnold Schönberg Center 10/2015), Vienna 2015, pp. 99-150
  • (Ed. Together with Markus Grassl :) Vienna School and Early Music / Viennese School and Early Music (Journal of the Arnold Schönberg Center 11/2015), Vienna 2015, therein: The Vienna School and Early Music, p. 8 -74
  • The writing composer in the editor's grid, in: Yearbook 2014 of the State Institute for Music Prussian Cultural Heritage, Mainz 2016, pp. 17-60
  • Egomaniacs among themselves: Strauss vs. Schönberg, in: Richard Strauss-Jahrbuch 2015, Vienna 2017, pp. 25-57
  • On side paths and across country. Richard Strauss and the concert form, in: 2015 yearbook of the State Institute for Music Prussian Cultural Heritage, Mainz 2017, pp. 33-82
  • Wagner problems in post-war times [a conversation with Silke Leopold], in: Katharina Wagner / Holger von Berg / Marie Luise Maintz (eds.), Fall of the Arts? Richard Wagner, National Socialism and the Consequences, Kassel etc. 2018, pp. 140-153, 202-207 (notes)
  • Counterpoint studies (compilation of older published and unpublished works on the history of the concept of counterpoint), online 2019: Kontrapunkt-Studien_gesch_WZ.pdf (accessible via musikgeschichte.at)
  • Contemporary and historical awareness, in: Thomas Ertelt / Heinz von Loesch (eds.), History of musical interpretation in the 19th and 20th centuries. Volume 1: Aesthetics - Ideas, Kassel - Berlin 2019, pp. 257-292
  • About Mozert's type of composition. KV 330 / 300h - an overinterpretation, in: Christian Glanz / Anita Mayer-Hirzberger / Nikolaus Urbanek (eds.), Music | culture | theory. Festschrift for Marie-Agnes Dittrich, Vienna 2019, pp. 69-101

 

Contributions to programs, CD booklets, etc. - including:

  • Notes on the general topic, in: Musica sacra et profana - una musica. Steglitz Church Music Days 1981
  • (Comment on; Robert Schumann, Sonata No. 3 in A minor for violin and piano / Leoš Janáček, Romance / Dumka / Sonata for violin and piano; Irene Wilhelmi (violin), Philip Moll (piano). LP MARS 1981)
  • (Comment on: Robert Schumann, Symphony No. 4. First arrangement / Norbert Burgmüller, Symphony No. 2; Radio Symphony Orchestra, Georg Schmöhe. Koch / Schwann 1988)
  • (Comments on: Mendelssohn Bartholdy, Symphonies No. 1-5; Gewandhausorchester Leipzig, Kurt Masur. TELDEC 1989/90)
  • From the classical type of the piano concerto. Notes on Mozart's KV 482, in: Program booklet 8. Concert d. Bavarian Radio Symphony Orchestra, 29./30. March 1990
  • Schumanns actuality, in: Philharmonische Programmhefte (Berlin) 1990/91 No. 11, pp. 200-202
    • also in: Correspondenz. Announcements from the Robert Schumann Society, Düsseldorf No. 12, 1991
  • Espressivo. Tempo and character in music
  • in the interplay between composer, interpreter and listener Reinhard Kapp in conversation with Bernhard Günther, in: take your time. rainy days. Philharmonie Luxembourg 28.11.-01.S. 36-40 (https://www.philharmonie.lu/media/content/download/documents/Publications/rainy_days-Kataloge/rainy_days_2013-take_your_time-Leseprobe.pdf)
  • For guidance, in: Juri Giannini / Andreas Holzer / Stefan Jena / Jürgen Polak (eds.), Lothar Knessl. Mediator of new music, author, composer, curator, Vienna 2018
  • What I learned from Helmut Berninger in: From the life and work of Helmut Berninger. A review, PHREN Munich 2013, pp. 27-35
  • Escort, in: Juri Giannini / Andreas Holzer / Stefan Jena / Jürgen Polak (eds.), Lothar Knessl. Mediator of new music, author, composer, curator, Vienna 2018

 

Further:

Smaller lexicon articles, reviews, lectures, radio manuscripts, record texts, program contributions, interviews, facilitators, journalistic work, etc.

 

Viennese publications on music history (edited together with Markus Grassl)

1. Markus Grassl, Reinhard Kapp (eds.), Darmstadt Talks. The international summer courses for new music in Vienna, Vienna-Cologne 1996

2. Christoph Becher, Variant technology using the example of Alexander Zemlinsky, Vienna-Cologne 1999

3. Markus Grassl, Reinhard Kapp (eds.), The teaching of musical performance in the Viennese school. Negotiations of the International Colloquium Vienna 1995, Vienna-Cologne 2002

4. Martin Eybl (ed.), The Liberation of the Moment. Schönberg's scandal concerts in 1907 and 1908. A documentation, Vienna-Cologne 2004

5. Beatrix Borchard, voice and violin - Amalie and Joseph Joachim. Biography and history of interpretation. With CD-Rom, Vienna-Cologne 2005

6. Martin Eybl, Evelyn Fink-Mennel (eds.), Schenker Traditions. A Viennese school of music theory and its international distribution. A Viennese School of Music Theory and Its International Dissemination, Vienna-Cologne 2006

7. Markus Grassl, Reinhard Kapp, Eike Rathgeber (eds.), Austria's New Music after 1945: Karl Schiske, Vienna-Cologne-Weimar 2008

8. Dominik Schweiger, Nikolaus Urbanek (eds.), Webern_21, Vienna-Cologne-Weimar 2009

9. Federico Celestini, Gregor Kokorz, Julian Johnson (eds.), Musik in der Moderne / Music and Modernism, Vienna-Cologne-Weimar 2011

10. Marie-Agnes Dittrich, Martin Eybl, Reinhard Kapp (eds.), Cycle and process. Joseph Haydn and Time, Vienna-Cologne-Weimar 2012

11. Christopher Hailey, Franz Schreker (1878-1934). A cultural-historical biography, Vienna-Cologne-Weimar 2018

12. Eike Rathgeber, Christian Heitler, Manuela Schwartz (eds.), Conrad Ansorge 1862-1930. A fin de siècle pianist in Berlin and Vienna, Vienna-Cologne-Weimar 2017

13th Augusta Campagne, Simone Verovio. Music printing, intabulations and basso continuo in Rome around 1600, Vienna-Cologne-Weimar 2018

14. Andreas Vejvar / Markus Grassl (eds.), "Avec discrétion". Rethinking Froberger, Vienna-Cologne-Weimar 2018

 

In preparation (Some lectures already held and to be published, some currently unpublished book chapters, some larger projects only partially realized)

The young Webern: A generation portrait

One- and few-tone pieces: The "zero hour" of music

Wagner article for an opera manual

Isang Yun's way to Europe

Of dolls and people. A chapter in musical theater history

Chapter Ancient Greece for a textbook on the history of music

Schönberg and the choir

An external person from the Vienna School: René Leibowitz

Hans Swarowsky and the Vienna School

Erich Leinsdorf

Freud and Schönberg: two Viennese schools (book project)

Beethoven as an example: Rudolf Kolisch with the Vienna School in the New World

(Ed.), Rudolf Kolisch, Collected Writings on Music and Musical Performance

(Edition of Schumann's Violin Concerto and Violin Fantasy as part of the Robert Schumann Complete Edition: canceled (NB: The individual editions of the violin concerto that are circulating under my name have not been released for printing by me, namely the musical text of the piano reduction was created without my involvement. The volume of the Schumann Complete Edition, "according to" which these editions are supposed to have been created, does not yet exist.)


Courses

(Topics can no longer be reconstructed in all cases)
 
 
WS 1992/93
 
Music history 1: VO From antiquity to the beginnings of polyphony
New Music in the 2nd Half of the Century 1: VO John Cage
 

SS 1993
 
Inaugural lecture: On the current relationship between composition and interpretation
 
Music history 2: VO From the beginnings of polyphony to Palestrina
New Music in the 2nd Half of the Century 2: VO Darmstadt and no end (together with Markus Grassl; parallel to this Darmstadt talks with guests: Friedrich and Gertraud Cerha, Diether de la Motte, Iván Eröd, Friedrich Hommel, Günter Kahowez, Lothar Knessl, Michael Kopfermann, Gösta Neuwirth, Kurt Schwertsik, Erich Urbanner - publication with a further conversation with Alfred Schlee under the same title as a volume 1 of the Viennese publications on music history, Vienna 1996; Exhibition on the subject in the Seilerstätte festival hall, organized by Friedrich Hommel and Wilhelm Schlüter, Darmstadt)
 
WS 1993/94
 
Music history 3: VO From Palestrina to the Viennese Classic (at the same time also in the singing department)
Music history (selected chapters): SE Christmas music
Music history (selected chapters): SE Performance history case studies I: Rudolf Kolisch (according to Markus Grassl)
Diploma colloquium (according to Markus Grassl)
 
SS 1994
 
Music history 4: VO From the Viennese classic to the present (at the same time also in the singing department)
Music history (selected chapters): SE Johann Joseph Fux. Composition and Theory (with guest lecture by Diether de la Motte)
Diploma colloquium (according to Markus Grassl)
 
WS 1994/95
 
Music history 1: VO From antiquity to the beginnings of polyphony (at the same time also in the singing department)
Music history (selected chapters): SE Orpheus operas I. (with guest lectures by Iván Eröd and Heinz Kratochwil)
New Music in the Second Half of the Century 1: VO Performance history case studies II:The question of performance
Diploma colloquium (according to Markus Grassl)
 
SS 1995
 
Music history 4: VO From the Viennese classic to the present (at the same time also in the singing department)
Music history (selected chapters): SE Performance history case studies III: Gustav Mahler
New music in the broader half of the century 2: VO Tendencies -Directions - Schools - Controversies - Manifestos
Diploma colloquium (according to Markus Grassl)
 
WS 1995/96
 
Music history 3: VO From Palestrina to the Viennese Classic (at the same time also in the singing department)
Music history (selected chapters): SE Robert Schumann (with work studies and public performance of opp. 103, 104, 110, 121, 133, 135, excerpts from WoO 22)
New Music in the Second Half of the Century 1: VO North America (with guest lecture by Dörte Schmidt)
Diploma colloquium (according to Markus Grassl)
 
SS 1996
 
Music history 4: VO From the Viennese classic to the present (at the same time also in the singing department)
Music history (selected chapters): SE Orpheus Operas II - Gluck and the Consequences
New Music in the Second Half of the Century 2: VO England (with guest lecture by David Babcock)
Diploma colloquium (according to Markus Grassl)
 
WS 1996/97
 
Music history 1: VO From antiquity to the beginnings of polyphony At the same time also in the singing department)
Music history (selected chapters): SE Performance history case studies IV - Carl Philipp Emanuel Bach
Colloquium Basic music theory terms (according to Markus Grassl and guest speakers, two keynote speeches on a topic - theory, harmony, counterpoint, topic, form, structure, text -: Manfred Angerer, Bernhard R. Appel, Regina Busch, Diether de la Motte, Marie- Agnes Dittrich, Renate Groth, Gösta Neuwirth, Adolf Nowak, Christian Ofenbauer, Gottfried Scholz, Axel Seidelmann, Manfred Wagner)
Diploma colloquium (according to Markus Grassl)
New Music in the Second Half of the Century 1: VO Vienna after 1945 (with guest lectures by Paul Kont, Karlheinz Essl, Christian Ofenbauer, Christian Schedlmayer)
Diploma colloquium (according to Markus Grassl)
 
SS 1997
 
Music history 2: VO From the beginnings of polyphony to Palestrina (at the same time also in the singing department)
Music history (selected chapters): SE Around 1600 - On the unity of music history (according to Markus Grassl)
Colloquium Basic concepts of music history. History - development - novelty - epoch - style - generation - school (according to Markus Grassl and guest speakers, two keynote speeches on one topic: Theophil Antonicek, Wolfgang Dömling, Gernot Gruber, Thomas Kabisch, Hartmut Krones, Silke Leopold, Claudia Maurer Zenck, Volker Scherliess, Tilman Seebaß, Cornelia Szabò-Knotik, Karl Vocelka)
New Music in the Second Half of the Century 2: VO Paris after 1944 (with guest lecture by Dieter Kaufmann)
Diploma colloquium (according to Markus Grassl)
 
WS 1997/98 (canceled due to illness)
 
Music history 3: VO From Palestrina to the Viennese Classic (at the same time also in the singing department)
New Music in the 2nd Half of the Century 1: VO The Second Exile of the Vienna School - Leopold Spinner, (with guest lectures by David Babcock, Regina Busch, Johannes Marian as well as work studies and public performance of piano and chamber music: opp. 9, 10, 13, 26)
Diploma colloquium (according to Markus Grassl)
 
WS 1998/99
 
Music history 1: VO From antiquity to the beginnings of polyphony
Music history (selected chapters): SE Richard Wagner as a composer (with rehearsals and concert "Richard Wagner - songs, piano music and original arrangements for piano: Huldigungs-Marsch, album sheet for Betty Schott, a sonata for the album by Mrs. M. W. Siegfried-Idyll Tannhauser/ Scene of Wolfram, Wesendonck-Lieder)
New music in the 2nd half of the 1st century
Diploma colloquium (according to Markus Grassl)
 
SS 1999
 
Music history 2: VO From the beginnings of polyphony to Palestrina
Music history (selected chapters) / music history 6: SE Performance history case studies V: Richard Wagner as an interpreter
Colloquium Basic musical aesthetic terms. Expression - Autonomy - Humor - Novelty - Originality - Beauty - Judgment (in accordance with Markus Grassl and guest speakers, two keynote speeches each on a topic: Barbara Boisits, Susanne Fontaine, Freia Hofmann, Jürg Stenzl, Nike Wagner)
New music in the second half of the century 2
Diploma colloquium (according to Markus Grassl)
 
WS 1999/2000
 
Music history 3 VO From Palestrina to the Viennese Classic
Music history (selected chapters): SE Richard Wagner as a theorist
New music in the second half of the century 1
Diploma colloquium (according to Markus Grassl)
(Lecturer at the University of Salzburg: VK Richard Wagner)
 
SS 2000
 
Music history 4: VO From the Viennese classic to the present
Music history (selected chapters): SE Performance History Case Studies VI: The Concept of "Historical Performance Practice" (according to Markus Grassl)
New music in the 2nd half of the century: VO The successor to the Viennese school (according to Markus Grassl and with the participation of Richard Hoffmann)
Colloquium for PhD students and diploma students (according to Markus Grassl)
(1 session of the lecture series "Monument Bach": The linear counterpoint)
 
WS 2000/01
 
Music history 1
Music history (selected chapters)
New music in the second half of the century 1
Diploma colloquium (according to Markus Grassl)
 
SS 2001
 
Music history 2
Music history (selected chapters)
New music in the second half of the century 2
Diploma colloquium (according to Markus Grassl)
 
WS 2001/02
 
Music history 3: VO From Palestrina to the Viennese Classic
Music history (selected chapters): SE The Vienna School and the New Objectivity (according to Markus Grassl and Christopher Hailey)
Music history (selected chapters) SE Performance history case studies VII - Arnold Schönberg
New music in the 2nd half of the century: VO Music theater I
Colloquium for PhD students and diploma students (according to Markus Grassl)
 
SS 2002
 
Music history 4: From the Viennese classic to the present
Music history (selected chapters): SE The Use of European Tradition - The 9th Century (according to Markus Grassl and Christian Berger)
Music history (selected chapters): Colloqium basic questions of musical analysis. Analysis and History - The Concept of Analysis - Dichotomies - Limits of Analysis? - Models - special case vocal music? (together with Markus Grassl and guest speakers, each with two keynote speeches on one topic: including Regina Busch, Marie-Agnes Dittrich, Martin Eybl, Andreas Holzer, Annegret Huber, Klaus Lippe, Christian Ofenbauer, Dörte Schmidt, Gottfried Scholz, Cornelia Szabo- Knotics)
New music in the 2nd half of the century: Music theater II
Colloquium for PhD students and diploma students (together with Markus Grassl)
 
WS 2002/03
 
Music history 1: From antiquity to the beginnings of polyphony
New music in the second half of the century: VO Morton Feldman
PhD seminar: SE Arnold Schönberg, Selected Writings (together with Markus Grassl and occasionally Therese Muxeneder)
Colloquium for PhD students and diploma students (together with Markus Grassl)
 
SS 2003
 
Music history 2: VO From the beginnings of polyphony to the 16th century
Music history (selected chapters): SE The Vienna School and Vienna at the turn of the century (according to Markus Grassl)
New music since 1950: VO Morton Feldman
Colloquium for PhD students and diploma students (according to Markus Grassl)
 
WS 2003/04
 
Music history 1 (new curriculum): VO Basic concepts of music history
Music history 3 (old curriculum): VO From the 16th century to the Viennese classic
Music history (selected chapters): SE Methodological questions in music historiography
New music since 1950: Tendency of the material I. Sound - noise - sound
Colloquium for PhD students and diploma students (according to Markus Grassl)
 
SS 2004
 
Music history 4 (old curriculum): VO From the Viennese classic to the present
Music history (selected chapters); SE The Vienna School and Beethoven
Music history (selected chapters): SE Music around 1200 (together with Markus Grassl)
Colloquium for PhD students and diploma students (according to Markus Grassl)
 
WS 2004/05
 
Music history 3 (old): VO From the 17th century to the Viennese classic
Music history 3 (new): VU History of musical expression
Music history (selected chapters): SE Performance history case studies VIII: Anton Webern
New music since 1950: VO Material 2 tendency: U and E (according to m. Diedrich Diederichsen)
Colloquium for PhD students and diploma students (according to Markus Grassl)
Musicology seminar for doctoral students: SE Everyday musical history (according to Cornelia Szabo-Knotik and Markus Grassl)
 
SS 2005
 
Research semester
 
Participation in the lecture series "Music of the 50s" with the topic: Darmstadt, Wiener and Wiener Neustädter School
 
WS 2005/06
 
Music history 1: VK From ancient Greece to the beginnings of polyphony
Music history 3: VU History and theory of musical genres
New music since 1950: VO The problem of the genera
PhD seminar (music history)
 
SS 2006
 
Music history 2: VK From the beginnings of polyphony to the end of the 16th century
Music history (selected chapters): SE Antique musical theater
New music since 1950: VO Issues of Notation in New Music
Music history seminar 2: SE On the history of the musical cycle (together with Markus Grassl)
(A session on music theory in Markus Grassl's music history seminar: Jean-Philippe Rameau)
 
WS 2006/07
 
Music history 2: Conversation for the MG 1 lecture
Music history 3: VU Characteristics of the keys
Contemporary music
Musicology seminar for doctoral candidates: SE 1830, 1848/49 - revolution and music
 
SS 2007
 
Music history 4: VU Music around 1850
Music history (selected chapters): SE Performance history case studies IX: Beethoven
New music since 1950: VO New Simplicity - New Complexity (only covered the first half)
Musicology seminar for doctoral candidates: SE Reading Johann Joseph Fux, Gradus ad Parnassum
 
WS 2007/08
 
Music history 3: VU On the history of the piano concerto in the 19th century
Music history (selected chapters) / music history 5: SE René Leibowitz - an external person from the Vienna School
New music since 1950 1: VO The music of the 90s
Musicology introductory seminar 3: The beginnings of the opera
 
SS 2008
 
Music history 2: Conversation for the MG 1 lecture
Music history 4: VU Richard Wagner and the Romantic Opera
Music history (selected chapters) / music history 6: SE Beethoven's late string quartets
PhD seminar (music history)
 
WS 2008/09
 
Music history 2: Conversation for the lecture
Music history 3: VU Prehistory and beginnings of the opera
Music history (selected chapters) / music history 5: SE On the history of the wind quintet around 1800
Research seminar 01 (musicology): SE Music and the Revolution 1848/49
Musicological Privatissimum
 
SS 2009
 
Music history (selected chapters): SE Performance history case studies X: On the history of conducting
New music since 1950: VO The music of the 80s
Music after 1945
Music history seminar: SE Film and New Music until 1930 I.
 
WS 2009/10
 
Music History 2 (Conversation on the VO Basic Concepts in Music History)
Music history 3: VU The new in music history
Music history (selected chapters): SE Joseph Haydn's masses
Research seminar (music history): SE Film and New Music until 1930 II
 
SS 2010
 
Music History 2 (Conversation on the VO Basic Concepts in Music History)
Music after 1945
New music since 1950: VO The music of the 70s
 
WS 2010/11
 
Music history (selected chapters) / music history 5: SE August Halm - composer, music theorist, educator
Musicology introductory seminar: The Composers and Music Theory - Case Studies on a Difficult Relationship
Research seminar 1 (music history): SE Film and New Music III
PhD seminar
("Performance history" session in the overview lecture (musicology)
 
SS 2011
 
Music history 2
Music history 4 (IGP)
Music history (selected chapters): SE Richard Wagner and the Romantic Opera
 
WS 2011/12
 
Opera history and repertoire studies 1
Musical Literature 6 / Music History Seminar: SE Richard Wagner in the history of the opera II
New music since 1950 1: VO The music of the 60s
Musicological Privatissimum
 
SS 2012
 
Introduction to the history of opera
Opera history and repertoire studies 02
Music history (selected chapters): SE Performance history case studies XI:Gustav Mahlers Fidelio
Research seminar (for PhD students): The Beethoven generation
 
WS 2012/13
 
Music history 1: VO From ancient times to the 13th century
Music history (selected chapters): SE Music theory and composition
Introduction to the history of opera
PhD seminar (music history)
(Session "Performance History" in the lecture series "Trends in the Subject")
 
SS 2013
 
Music history 2
Music history (selected chapters): SE The “opera of all operas” - Don Giovanni
Aesthetics and history of applied and media music 2/ Musical literature 2
Introduction to the history of songs and oratorios
Privatissimum (musicology)
 
WS 2013/14
 
Music history 3: VK 17th and 18th centuries
VO Introduction to the history of opera
SE Shape and structure analysis (Mozart, Webern)
PhD seminar
(Session "Performance History" in the lecture series "Trends in the Subject")
 
SS 2014
 
Music history 4: VK 19. and 20./21. century
Introduction to the history of songs and oratorios
Music history (selected chapters (/ also notation studies 02: SE Renaissance instrumental music / tablatures
(Erasmus exchange at UdK Berlin: i.a. (together with Prof. Christine Siegert) SE "Robert and Clara Schumann")
 
WS 2014/15
 
Music history 1: VK From ancient Greece to the 13th century
Music history (selected chapters); SE Christmas music
PhD seminar
(Session "Performance History" in the lecture series "Trends in the Subject")
 
SS 2015
 
Music history 2: VU From the 13th to the 16th century
Musicology introductory seminar 02: Source studies, philology
Research seminar (for PhD students): Women composers in the 19th century
(Erasmus exchange at UdK Berlin: including the lecture "Chatting from the Viennese School" as part of the lecture series "What the sources tell us")
 
June 18, 2015 Farewell Lecture "Towards a History of Musical Performance"

Retirement

SS 2017

Music history (selected chapters): SE "Theory and Practice of Musical Interpretation in the Vienna School"

WS 2018/19

Music history (selected chapters): SE "The Vienna School and Musical Analysis"