Music association for Styria

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The Musikverein für Steiermark in Graz is the largest concert organizer in Styria . The concerts take place in the Stefaniensaal ( Congress Graz ), which is one of the best acoustic concert halls in the world, and in the neighboring chamber music hall (Congress Graz). The Musikverein for Styria is one of the oldest music associations in the world, alongside the Wiener Musikverein ( Society of Friends of Music in Vienna ), which has been working without interruption since it was founded. It was founded in 1815 as the "Academic Music Association" and officially recognized in 1817 as the "Music Association for Steyermark" . In the meantime, names such as “Steiermärkischer Musikverein” or “Musikverein in der Steiermark” have also been used, and the term “Musikverein für Steiermark” has been common since the 1850s .

history

The register of the Steiermärkischer Musikverein created in 1821

Founding time

The Musikverein für Steiermark was founded in the spring of 1815 by an association of academics from Graz, but the exact date is not known. According to the first statutes, the driving force behind the foundation was Johann Farbmann , curate of the Graz provost's office . This document was also signed by 30 other people. Music was played together in the form of “musical exercises” , and public academies were also organized to motivate the members. The purpose of the newly founded association was "his own and the musical youth in Steyermark musical education" as well as "the pleasure of the public and the resulting promotion of the charities" . In 1819 Archduke Johann could be won as protector of the music association. He stood up for the music association at the emperor and attended committee meetings and concerts at the association school. As the original name "Academischer Musikverein" suggests, only academics were accepted in the first few months. Since this group of people was too narrow, however, “members from other circles were soon accepted as 'honorary members'” , although they were not active musicians, but supporting members ( “participating honorary members” ). As early as 1817 the addition “Academic” was deleted from the statutes of the music association, and academics were no longer allowed to make up the majority of the committee. Since 1821 there have also been "external honorary members" (honorary members in today's sense). Ludwig van Beethoven (1821) and Franz Schubert (1823) were among the most important honorary members of the early 19th century .

In the first “public concert” (for members and invited guests) on June 6, 1815, works by honorary members Ludwig van Beethoven, Franz von Mosel and Anton Diabelli as well as compositions by Rodolphe Kreutzer , [?] Müller and Vincenzo Righini were performed. The first public concerts were exclusively for charity purposes, later there were "social concerts " , charity concerts and performances of church music every 1–2 months . While primarily local musicians performed in the first decades, from 1870 onwards musicians from abroad were increasingly brought in, also due to the increasing competition from choral societies , which required a more attractive concert design. From 1885, the Musikverein finally had a permanent concert hall with the Stefaniensaal. Before that, the concerts u. a. took place in the knight's hall of the Landhaus or in the Ständisches Redoutensaal.

19th century

One cannot speak of a repertoire in the current sense in the first half of the century. In the first decades sacred music was predominant (e.g. oratorios and choral works by Joseph Haydn , Gaspare Spontini and Wolfgang A. Mozart ), but also opera arias and overtures as well as variations. A large number of works, which were often not performed as a whole, as well as the very different line-ups shaped the programs in the potpourri style. In the course of the 1840s, works by German composers and instrumental music were increasingly heard. The more frequent performance of entire compositions (e.g. symphonies ) testifies to a new understanding of the work, “which formed the starting point for the Musikverein on its way to becoming a modern concert organizer” . In the 1850s there was an increasing number of major choral works (e.g. by Felix Mendelssohn Bartholdy or Joseph Haydn) and the singers became more professional. In the following decade, artists from abroad were hired more often and the concert programs were adapted according to their wishes, so that more solo works (especially for violin and piano) were on the program. A further milestone in the direction of professional concert organizers followed with the publication of detailed “concert regulations” in 1862. The definition of “main numbers” led to concert programs that were well thought out in terms of dramaturgy. In the 2nd half of the century u. a. all of Ludwig van Beethoven's symphonies performed. Thematic priorities were set (e.g. with concerts in honor of Felix Mendelssohn Bartholdy, Ludwig van Beethoven and Richard Wagner ). In the concerts of the 1880s, virtuosos with an audience appeal were in the foreground. Important were v. a. the works of Richard Wagner, but also of Johann S. Bach or Anton Bruckner (first performance of the 7th Symphony). In the 1890s, chamber music finally established itself in the concert program.

The 20th century

The political situation in Austria in the early 20th century also had a massive impact on the Musikverein. Due to the difficult economic situation, concert activities were in some cases severely restricted. The sale of the valuable “Imperial Collection” to the Austrian National Library in 1935 led to an improvement in the financial situation. Like all other private and public institutions, the Musikverein was also subjected to the ideological goals and organizational concepts of National Socialism . This also included compulsory membership in the Reich Chamber of Music . In 1939 the Conservatory was taken over by the Styrian Music School and the Musikverein continued as a pure concert organizer. The political events also influenced the concert repertoire. The music association mostly had to limit itself to the artists available in Graz and the surrounding area, large symphonic ensembles were difficult to manage financially and organizationally. On the other hand, these circumstances led to a broad design of the repertoire. In addition to compositions from the Classical and Romantic periods, there were a large number of world premieres and premieres. The program included a. Works by Richard Strauss , Franz Liszt , Pjotr ​​I. Tschaikowsky (first performance 1st piano concerto), Anton Bruckner and Hugo Wolf , but also thematic evenings such as a chamber music evening under the motto "Modern Masters" ( Max von Schillings , Joseph Marx etc.) or one “Beethoven Celebration”. Under the direction of Hermann Ritter von Schmeidels (1894–1953) in the 1930s there was a focus on the Baroque. "Open singing lessons" were also used for propaganda. The chamber and solo concerts brought a wide repertoire from classical music to Claude Debussy , Paul Hindemith , Hans Pfitzner , Sergej Rachmaninow and Egon Kornauth . At the beginning of the Second World War, the concert business was initially apparently continued undisturbed. “The listener should be offered inner elevation, but also distraction and relaxation. Everything inferior and shallow, however, has no place in the lecture series. ” Works by composers of Jewish or Slavic origin were also prohibited. The focus was on artists from the "Altreich" or on "German" music, e.g. B. on works by Johann S. Bach , Johann Joseph Fux and Joseph Marx, German Christmas music and folk songs. From 1942 onwards, more “lighter” programs for entertainment and distraction were organized, for example under the title “Happy Piano Music” or “Lively Music”. Works by Beethoven , Johannes Brahms and Bruckner , German and Italian composers dominated the orchestral concerts . Towards the end of the war, the number of concerts decreased significantly.

After the Second World War , the music association was reconstituted as a private association. The concerts of the theater orchestra now took place in the Musikverein, which ensured the orchestral concerts. Foreign soloists and ensembles were also invited. From 1945 onwards, a “ Graz Festival Week ” was also held in the summer . a. Karl Böhm , Julius Patzak , Maria Cebotari , Josef Krips , Hermann Scherchen and the Vienna Philharmonic made guest appearances. Under the direction of Secretary General Albert Moser , the connection to the international concert business with personalities such as John Barbirolli , Hans Knappertsbusch , Sergiu Celibidache , Herbert von Karajan and Clemens Krauss succeeded . In the early 1950s, a financial crisis led to a first funding contract with the State of Styria and a contract with the Graz Philharmonic Orchestra . In the 1950s, the music of the 20th century steadily increased, also due to the " Studio for Problems of Timely Music " founded by State Music Director Erich Marchkl . Under Reinhold Portisch , the number of concerts in the anniversary season 1965/1966 was increased significantly, the summer games were moved to autumn and merged with the " steirischer herbst ". Since 1954/1955, organizing recitals with artists such as Irmgard Seefried , Christa Ludwig , Hermann Prey , Nicolai Gedda , Lisa della Casa , Fritz Wunderlich , Gundula Janowitz , Grace Bumbry , Peter Schreier , Teresa Berganza and Lucia has become a specialty for Graz Popp , Brigitte Fassbaender and Jessye Norman .

In 1971, Erika Kaufmann was the first woman to head the music association. Under her leadership, the association's finances were restructured and the music association was separated from “steirischer herbst”. Kaufmann increasingly relied on the application of soloist, chamber concerts and recitals. “Concerts without subscription” should increase the attractiveness of the music club profitably. In 1990 the Musikverein celebrated its 175th anniversary with a festival program and another commemorative publication. In 1991 Uta Werner took over the office of Secretary General. Young artists who later became world leaders made their debut under her leadership, such as Martin Grubinger , Leonidas Kavakos , Thomas Quasthoff , Julian Rachlin , Markus Schirmer , Bo Skovhus and Maxim Vengerov , but also greats such as Cecilia Bartoli , Miltiades Caridis , Valery Gergiev and Thomas Hampson , Midori , Georges Prêtre , Sir Simon Rattle and Wolfgang Sawallisch .

200 years of the Musikverein

With the appointment of Michael Nemeth as General Secretary and Artistic Director from 2008/2009 onwards, top international musicians and innovative projects succeeded in gaining new, larger audiences. Since then, u. a. Agnes Baltsa , Piotr Beczała , Alfred Brendel , Diana Damrau , Elīna Garanča , Edita Gruberová , Dmitri Hvorostovsky , Vesselina Kasarova , Jonas Kaufmann , Angelika Kirchschlager , Fabio Luisi , Oleg Maisenberg , Mischa Maisky , Xavier de Maistre , Sir Neville Marriner , Zubin Mehtainer , Anna Netrebko , Krzysztof Penderecki , Olga Peretyatko , Julian Rachlin , András Schiff , Christian Thielemann , Ramón Vargas , Rolando Villazón and Arcadi Volodos as well as renowned orchestras (e.g. Royal Philharmonic Orchestra , Vienna Symphony Orchestra and Philharmonic Orchestra ). The collaboration with the Graz Philharmonic Orchestra was intensified with exciting programs and world premieres. World-class ensembles (e.g. Tokyo String Quartet , Quatuor Ébène ) as well as young ensembles have performed in the field of chamber music . Further highlights were concerts with Angela Denoke (music from the 1920s and 1930s), Martin Grubinger ( The Percussive Planet ) and Cecilia Bartoli ( Sacrificium , Handel's heroines, etc.), the music for the silent film Der Rosenkavalier ( Frank Strobel , Grazer Philharmonisches Orchester ) , Verdi's Giovanna d'Arco ( Carlo Montanaro , ORF Radio Symphony Orchestra Vienna ) and Mozart's Requiem ( Adam Fischer , Grazer Philharmonisches Orchester). A Mahler cycle that began in 2010 with the 9th Symphony ( Bertrand de Billy , ORF Radio Symphony Orchestra Vienna) was concluded in 2015 with the monumental 8th Symphony in the Graz Stadthalle ( Gabriel Feltz , Graz Philharmonic Orchestra).

The focus of the 2014/2015 anniversary season was on the history of the music association and its honorary members. Highlights of the more than 60 projects were collaborations with the Wiener Musikverein , Konzerthaus and State Opera , the debut of the Royal Concertgebouw Orchestra Amsterdam under Mariss Jansons , a gala concert with Philippe Jordan and the Wiener Symphoniker, concerts with Angela Gheorghiu , Simon Keenlyside , the “Styria cantat” initiative , the Concentus Musicus Vienna under Nikolaus Harnoncourt and gala evenings with artists such as Markus Schirmer, Lidia Baich , Helmut Deutsch , Thomas Quasthoff, Michael Schade and the Hugo Wolf Quartet . With the annual “ Concert for Human Rights ”, the Musikverein has been setting a special symbol of the responsibility of art and culture for the values ​​of a humanist-oriented society since 2014. For the next “Concert for Human Rights” in December 2017, dedicated to the Nobel Peace Prize laureate Malala Yousafzai , the Musikverein also awarded commissioned compositions to young composers. In 2015 the festschrift Im Jahresestakt was also published , which continues the series of festival publications from the years 1890, 1965 and 1990. It documents the most important historical events as well as the program design from the founding time to the 21st century, but also addresses current issues from cultural studies, philosophy and sociology. Much of the content is dealt with for the first time, such as the activities of the Musikverein during National Socialism , the role of women in the Musikverein or a complete list of the 150 honorary members up to that point . The book comes to life through numerous concert photos from recent years as well as through statements from members, honorary members and press representatives.

Season 2019/2020

From the heart - may it go to the heart again! - This is how the Musikverein honorary member Ludwig van Beethoven wrote his Missa solemnis . In this work, Beethoven sent a humanistic message to posterity, which programmatically shaped the 205th season of the Musikverein with the focus on internationality, repertoire diversity, youth development and human rights. Young artists will be offered a platform with the formats Musical Aperitif and Jazz Lounge as well as, for the first time this season, with salon concerts in the afternoon. The Belcea Quartet , Fazil Say and the accompanist Helmut Deutsch will be performing as Artists in Residence in 2019/2020 . Due to the SARS-CoV-2 pandemic, all concerts from March 17, 2020 were canceled or postponed to the following seasons.

Concerts for human rights

No culture without human rights , no human rights without culture: With its concerts for human rights , which have already become a tradition , the music association sets sounding signs for the values ​​of a humanistically oriented society. Two concerts for human rights took place in the 2018/2019 season: Oksana Lyniv opened the season with the Youth Symphony Orchestra of Ukraine, which she founded , and Daniel Barenboim , winner of the Graz Human Rights Prize , gave a piano recital with works by Beethoven . In the 2019/2020 season, concerts will commemorate historical events such as 75 years of peace in Europe, 65 years of the State Treaty or 20 years of Graz - City of Human Rights.

Youth promotion

The opening of a singing school in 1816, which was later expanded to include instrumental classes, music theory classes, composition and conducting classes, reflects the bourgeois educational concept and the urge of society at that time for education, upbringing and enlightenment. After changing locations several times, the music school moved to Griesgasse 29 in 1889 and was finally promoted to a conservatory in 1920. In 1939 the conservatory was separated from the Musikverein and nationalized (from 1963 academy, today University of Music and Performing Arts ). The classes that remained in Griesgasse were continued as the “Landesmusikschule” and later as the “ Johann-Joseph-Fux Conservatory ”. The most important students of the club school include u. a. Waldemar Bloch , Karl Böhm , Ferruccio Busoni , Louis Eller , Marie Geistinger , Siegmund von Hausegger , Wilhelm Kienzl , Joseph Marx , Emil Nikolaus von Reznicek and Ernst Schuch .

Events for children and young people in the music association also have a long tradition. The first “youth concerts” (1960/1961) followed at the end of the 1960s with a cooperation with Jeunesse Austria. From 1991 to 2005 the children's concert cycle “Little People - Big Ears” existed. In the “Amabile” series established in 2008, established musicians such as Markus Schirmer and Julian Rachlin introduced young artists to the audience. Chamber opera projects with young artists were also a novelty: a trilogy of early one-act plays by Gioachino Rossini was followed by Gaetano Donizetti's Rita and Franz von Suppé's Die Schöne Galathée . Young talents who started a world career a little later, such as Evgeny Chepovetsky , Julie Fuchs or Olga Peretyatko, made their debut in the Amabile events . After a renewed collaboration with Jeunesse , the Musikverein has been organizing children's concerts on its own initiative since 2016/2017, including Peter and the Wolf or concerts with Timna Brauer . The music association is also building on its founding ideas with collaborations with music universities and initiatives to promote young talent.

Artistic Director

Significant personalities in Graz's musical life were closely related to the Musikverein für Steiermark: as active musicians or in various positions within the association, including Heinrich von Herzogenberg , Eduard Hysel , Anselm Hüttenbrenner , Wilhelm Mayer-Rémy , Carl Maria von Savenau , Ferdinand Thieriot , Wilhelm Kienzl , Erich Wolfgang Degner , Roderich von Mojsisovics a . v. a. In the 20th century, the music association was shaped by general secretaries such as Albert Moser , Reinhold Portisch , Erika Kaufmann , Uta Werner and Michael Nemeth (since 2007/2008).

Honorary members

The composers Ludwig van Beethoven and Franz Schubert were among the most important "foreign honorary members" of the early 19th century . The award was also given to “former members who were particularly deserving of the association and who had left Graz” (e.g. to the former music director and Schubert friend Anselm Hüttenbrenner ) or to “foreign artists” such as the singer Therese Sessi and the 8-year-old violin prodigy Sigismund von Praun . The Graz Salonnière Marie Pachler-Koschak , whose house was a central meeting point for musicians and artists from Graz, was also made an honorary member.

In the 20th century, mainly composers and musicians were appointed honorary members, such as Ernst Krenek , Karl Böhm , Alfred Cortot , György Ligeti , Alfred Brendel and Ernst Märzendorfer . Around the 200th anniversary of the music association, Krzysztof Penderecki , Nikolaus Harnoncourt , Elīna Garanča and Adam Fischer were added to the ranks of the more than 150 honorary members. The newest honorary members are Thomas Quasthoff , Rudolf Buchbinder and Helmut Deutsch .

literature

  • Bischoff, Ferdinand: Chronicle of the Styrian Music Association. Festschrift to celebrate the 75th anniversary of the association , Graz 1890.
  • Dorfer, Angelika: Youth in ?! Events for children and young people , in: Every year. 200 years of the Musikverein for Styria , ed. v. Michael Nemeth in collaboration with Susanne Flesch, Vienna Cologne Weimar 2015, pp. 171–175.
  • Flesch, Susanne: The honorary members of the music association for Styria , in: Every year. 200 years of the Musikverein for Styria , ed. v. Michael Nemeth in collaboration with Susanne Flesch, Vienna Cologne Weimar 2015, pp. 223–257.
  • Kaufmann, Erika (Hrsg.): 175 years of music association for Styria. Graz. 1815–1990 , Graz 1990.
  • Kaufmann, Harald: A bourgeois music society. 150 years of the Musikverein for Styria , Graz 1965.
  • Krammer, Gerald: The repertoire of the Musikverein concerts in the years 1914 to 1938 , in: Every year. 200 years of the Musikverein for Styria , ed. v. Michael Nemeth in collaboration with Susanne Flesch, Vienna Cologne Weimar 2015, pp. 137–142.
  • Krammer, Gerald: The repertoire of the Musikverein concerts from 1939 to 1945 , in: Every year. 200 years of the Musikverein for Styria , ed. v. Michael Nemeth in collaboration with Susanne Flesch, Vienna Cologne Weimar 2015, pp. 143–147.
  • Nemeth, Michael: "The Musikverein shows what it can do." Interim balance of a gentle renewal , in: Every year . 200 years of the Musikverein for Styria , ed. v. Michael Nemeth in collaboration with Susanne Flesch, Vienna Cologne Weimar 2015, p. 183.
  • Nemeth, Michael in collaboration with Flesch, Susanne (Ed.): Every year. 200 years of the Musikverein für Steiermark , Vienna Cologne Weimar 2015.
  • Nemeth, Michael: Wende und Aufbruch , in: Every year. 200 years of the Musikverein for Styria , ed. v. Michael Nemeth in collaboration with Susanne Flesch, Vienna Cologne Weimar 2015, pp. 149–155.
  • Rathkolb, Oliver: The music association for Styria during the Chancellor's dictatorship (1933-1938) and National Socialism (1938-1945) , in: In the annual cycle. 200 years of the Musikverein for Styria , ed. v. Michael Nemeth in collaboration with Susanne Flesch, Vienna Cologne Weimar 2015, pp. 127–134.
  • Rathkolb, Oliver: "Reorganization and revitalization of the Styrian Music Association". 1918–1933–1938 , in: Every year. 200 years of the Musikverein for Styria , ed. v. Michael Nemeth in collaboration with Susanne Flesch, Vienna Cologne Weimar 2015, pp. 123–125.
  • Scholz, Birgit: Art. Musikverein für Steiermark , in: Literature and cultural history handbook of Styria in the 19th century online , http://lithes.uni-graz.at/ Handbuch /musikverein_fuer_steiermark.html [22. May 2017].
  • Smale, Mona: The Education of the Musical Youth. The club music school in the 19th century , in: Every year . 200 years of the Musikverein for Styria , ed. v. Michael Nemeth in collaboration with Susanne Flesch, Vienna Cologne Weimar 2015, pp. 109–113.
  • Zechner, Ingeborg: " On the urge to advance in art". About the program of concerts in the 19th century , in: Every year. 200 years of the Musikverein for Styria , ed. v. Michael Nemeth in collaboration with Susanne Flesch, Vienna Cologne Weimar 2015, pp. 89–99.

Web links

Individual evidence

  1. ↑ Ferdinand Bischoff: Chronicle of the Steiermärkischen Musikverein. Festschrift to celebrate the 75th anniversary of the association . Graz 1890, p. 22 .
  2. ↑ Ongoing noble human activity of the Musikverein for Steyermark . In: The attentive . No. 71/1817 , June 14, 1817, p. 4 .
  3. ↑ Susanne Flesch: The honorary members of the music association for Styria . In: Michael Nemeth in collaboration with Susanne Flesch (Ed.): Every year. 200 years of the music association for Styria . Böhlau, Vienna Cologne Weimar 2015, ISBN 978-3-205-79663-3 , p. 223 .
  4. ^ Laws of the musical association (1815) .
  5. ↑ a b c d e f Ingeborg Harer: Art. Musikverein für Steiermark. (No longer available online.) In: Oesterreichisches Musiklexikon online. Formerly in the original ; accessed on May 22, 2017 .  ( Page no longer available , search in web archives )  Info: The link was automatically marked as defective. Please check the link according to the instructions and then remove this notice.@1@ 2Template: Toter Link / www.musiklexicon.ac.at  
  6. ↑ Ferdinand Bischoff: Chronicle of the Steiermärkischen Musikverein. Festschrift to celebrate the 75th anniversary of the association . Graz 1890, p. 9 .
  7. ↑ Quoted from: Ferdinand Bischoff: Chronik des Steiermärkischen Musikverein. Festschrift to celebrate the 75th anniversary of the association . Graz 1890, p. 19 .
  8. ↑ Mona Smale: The training of musical youth. The club music school in the 19th century . In: Michael Nemeth in collaboration with Susanne Flesch (Ed.): Every year. 200 years of the music association for Styria . Böhlau, Vienna Cologne Weimar 2015, ISBN 978-3-205-79663-3 , p. 110 .
  9. ↑ Ferdinand Bischoff: Chronicle of the Steiermärkischen Musikverein. Festschrift to celebrate the 75th anniversary of the association . Graz 1890, p. 9 .
  10. ↑ Ferdinand Bischoff: Chronicle of the Steiermärkischen Musikverein. Festschrift to celebrate the 75th anniversary of the association . Graz 1890, p. 19th f .
  11. ↑ Ferdinand Bischoff: Chronicle of the Steiermärkischen Musikverein. Festschrift to celebrate the 75th anniversary of the association . Graz 1890, p. 22 .
  12. ^ Directory of the PT members of the music association in Styria and the music teachers employed by the same . Graz 1821.
  13. ↑ Susanne Flesch: The honorary members of the music association for Styria . In: Michael Nemeth in collaboration with Susanne Flesch (Ed.): Every year. 200 years of the music association for Styria . Böhlau, Vienna Cologne Weimar 2015, ISBN 978-3-205-79663-3 , p. 223 .
  14. ↑ Ferdinand Bischoff: Chronicle of the Steiermärkischen Musikverein. Festschrift to celebrate the 75th anniversary of the association . Graz 1890, p. 10 .
  15. ↑ Birgit Scholz: Art. Musikverein für Steiermark. In: Literature and cultural history handbook of Styria in the 19th century online. Retrieved May 22, 2017 .
  16. ↑ Program leaflet from January 13, 1878 [Musikverein für Steiermark, archive] . January 13, 1878.
  17. ^ Concert advertisement from 1822 [Musikverein für Steiermark, archive] . 1822.
  18. ↑ Ingeborg Zechner: "On the urge to advance in art". About the program of concerts in the 19th century . In: Michael Nemeth in collaboration with Susanne Flesch (Ed.): Every year. 200 years of the music association for Styria . Böhlau, Vienna Cologne Weimar 2015, ISBN 978-3-205-79663-3 , p. 94 .
  19. ↑ Ingeborg Zechner: "On the urge to advance in art". About the program of concerts in the 19th century . In: Michael Nemeth in collaboration with Susanne Flesch (Ed.): Every year. 200 years of the music association for Styria . Böhlau, Vienna Cologne Weimar 2015, ISBN 978-3-205-79663-3 , p. 89-99 .
  20. ↑ Oliver Rathkolb: "Reorganization and revitalization of the Steiermärkischen Musikverein". 1918-1933-1938 . In: Michael Nemeth in collaboration with Susanne Flesch (Ed.): Every year. 200 years of the music association for Styria . Böhlau, Vienna Cologne Weimar 2015, ISBN 978-3-205-79663-3 , p. 123 .
  21. ↑ Oliver Rathkolb: The music association for Styria during the Chancellor's dictatorship (1933–1938) and National Socialism (1938–1945) . In: Michael Nemeth in collaboration with Susanne Flesch (Ed.): Every year. 200 years of the music association for Styria . Böhlau, Vienna Cologne Weimar 2015, ISBN 978-3-205-79663-3 , p. 131 f .
  22. ↑ Gerald Krammer: The repertoire of the Musikverein concerts in the years 1914 to 1938 . In: Michael Nemeth in collaboration with Susanne Flesch (Ed.): Every year. 200 years of the music association for Styria . Böhlau, Vienna Cologne Weimar 2015, ISBN 978-3-205-79663-3 , p. 137-142 .
  23. ↑ Circular from the Reichsmusikkammer [Musikverein für Steiermark, archive] . September 18, 1939.
  24. ↑ Gerald Krammer: The repertoire of the Musikverein concerts from 1939 to 1945 . In: Michael Nemeth in collaboration with Susanne Flesch (Ed.): Every year. 200 years of the music association for Styria . Böhlau, Vienna Cologne Weimar 2015, ISBN 978-3-205-79663-3 , p. 143-147 .
  25. ↑ Michael Nemeth: Turn and Departure . In: Michael Nemeth in collaboration with Susanne Flesch (Ed.): Every year. 200 years of the music association for Styria . Böhlau, Vienna Cologne Weimar 2015, ISBN 978-3-205-79663-3 , p. 149-155 .
  26. ↑ Michael Nemeth: Turn and Departure . In: Michael Nemeth in collaboration with Susanne Flesch (Ed.): Every year. 200 years of the music association for Styria . Böhlau, Vienna Cologne Weimar 2015, ISBN 978-3-205-79663-3 , p. 153 f .
  27. ↑ Michael Nemeth: "The Musikverein shows what it can do." Interim balance of a gentle renewal . In: Michael Nemeth in collaboration with Susanne Flesch (Ed.): Every year. 200 years of the music association for Styria . Böhlau, Vienna Cologne Weimar 2015, ISBN 978-3-205-79663-3 , p. 183 .
  28. ↑ Musikverein für Steiermark (Ed.): Annual Books 2007-2015 .
  29. ↑ Musikverein für Steiermark (Ed.): Annual issue 2014/15 . Graz 2014.
  30. ↑ Concert for Human Rights 2017/2018. Retrieved July 22, 2017 .
  31. ↑ Concert for Human Rights. Retrieved July 20, 2017 .
  32. ↑ Michael Nemeth in collaboration with Susanne Flesch (Ed.): Every year. 200 years of the music association for Styria . Böhlau, Vienna Cologne Weimar 2015, ISBN 978-3-205-79663-3 .
  33. ↑ Program focus . In: Musikverein für Steiermark (Ed.): Annual booklet 2019/2020 . Graz March 2019, p. 13-27 .
  34. ^ Musikverein für Steiermark: On the current situation. Retrieved June 8, 2020 .
  35. ↑ Program focus . In: Musikverein für Steiermark (Ed.): Musikverein. Season 2018/2019 . Graz 2018, p. 17th f .
  36. ↑ Program focus . In: Musikverein für Steiermark (Ed.): Annual booklet 2019/2020 . Graz March 2019, p. 13-27 .
  37. ↑ Angelika Dorfer: Youth in ?! Events for children and young people . In: Michael Nemeth in collaboration with Susanne Flesch, (Ed.): Every year. 200 years of the music association for Styria . Böhlau, Vienna Cologne Weimar 2015, ISBN 978-3-205-79663-3 , p. 171-175 .
  38. ↑ Musikverein für Steiermark (Ed.): Annual issue 2016/2017 . Graz 2016.
  39. ↑ Ferdinand Bischoff: Chronicle of the Steiermärkischen Musikverein. Festschrift to celebrate the 75th anniversary of the association . Graz 1890, p. 46 .
  40. ↑ Susanne Flesch: The honorary members of the music association for Styria. (PDF) 2015, accessed on July 20, 2017 .
  41. ↑ Susanne Flesch: The honorary members of the music association for Styria . In: Michael Nemeth in collaboration with Susanne Flesch (Ed.): Every year. 200 years of the music association for Styria . Böhlau, Vienna Cologne Weimar 2015, ISBN 978-3-205-79663-3 , p. 224 .