Austrian music magazine

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Austrian MUSIKZEITschrift

description Music magazine
publishing company Hollitzer (Vienna)
First edition January 7, 1946
attitude 2018
Frequency of publication bi-monthly
Sold edition approx. 1,000, plus special contingent copies
Editor-in-chief Doris Weberberger, Lena Dražić
editor Daniel Brandenburg, Daniel Ender, Frieder Reininghaus
Web link
ISSN (print)

The Austrian Music Magazine (ÖMZ) was a monthly magazine published in Vienna. It was founded in 1945 by the Austrian cultural politician and music critic Peter Lafite ; by the end of 2010 (65th year) it was published by Marion Diederichs-Lafite with a total of 745 issues (Verlag Musikzeit). From 2011 to 2014 the magazine was published by Böhlau Verlag , and since 2015 by Verlag Hollitzer . In February 2018, the magazine was discontinued by the publishers.


Austrian MUSIKZEITschrift, 1948

In 1946, during the post-war period , Peter Lafite began with the signatory powers, Dmitri Shostakovich - Benjamin Britten - Claude Debussy , Maurice Ravel - Arthur Honegger and Erich Wolfgang Korngold ; in the music of the 20th century he campaigned for the “Vienna School”, for Igor Stravinsky , Werner Egk, Carl Orff , Paul Hindemith and cooperated with Joseph Marx , Marcel Rubin , Friedrich Wildgans and Josef Matthias Hauer . Employee Friedrich Saathen, who wrote about Gottfried von Eine or Ernst Krenek , focused on the present (in contrast, however, the ÖMZ aimed to be more than just a “rondo” for connoisseurs). 1951 - in continuation of the magazine with Dolf Lindner as editor - Paul Kont gives insights into the scene in Vienna and Darmstadt, while Rudolf Klein first reports from Donaueschingen and then contributes a lot as editor from Frank Martin to Olivier Messiaen . During this development phase, the ÖMZ sponsors a composition commission (1955 to Anton Heiller ) and competition (for young composers 1956). The 1961 publication on “The Vienna School” and its successors opened up an expanded basis. Music information through hardcover publications, info pages, loose-leaf catalogs with the help of editor Walter Szmolyan was set up in the network of ÖMZ, ÖKB and ORF . There was direct collaboration with Karl Schiske , György Ligeti , Friedrich Cerha , Anestis Logothetis , as well as Hans Erich Apostel , through Hans Werner Henze and Otto M. Zykan . In 1980 the collaboration with composers' associations (IGNM, ÖKB, etc.) was intensified: School educators from John Cage to Walter Zimmermann (composer) came to the fore; Heinz Karl Gruber , Dieter Kaufmann , Wilhelm Zobl committed themselves to individual issues. Editor Christian Baier exposed minimal music or experimental operas, worked with Franz Koglmann and discovered Olga Neuwirth . Austria's music scene, which found design in "Hörgang" events such as the current aesthetics themed series by "wien modern" , was accompanied centering on Peter Ablinger , Bernhard Lang (composer) , Klaus Lang , Gerd Kühr , Christian and Wolfgang Muthspiel resp. Roman Haubenstock-Ramati , Wolfgang Rihm , Luigi Nono , Witold Lutosławski , Krzysztof Penderecki , Alfred Schnittke , and others. The expansion took place from 1994 to 2011 after journalistic and optical reform thanks to in-house production and web access via article databases. The rubrics "Echo" for premiere criticism, "Studio" for score analysis and "Portrait" serve as a renewal for public discussion. The theme is Austria's music landscape, the history of the IGNM and Europe's music information centers. Two symposia in 1988 and 2007 focus on “Ideas - Ideologies - Realities”. Editor Daniel Ender maintains discussions with the creative minds. Special MUSIKZEIT covers create outstanding visual artists. In the manageable Central European music market, the magazine was always looking for something alive from the stimulating past and future-oriented creativity, and was also open to computers and electronics, with borders between improvisation , jazz , verbal language / libretti , dance / performance and film . With the takeover by the new editors Daniel Brandenburg and Frieder Reininghaus, the external appearance of the magazine changed; the rubrics have also been revised; these were: teaching and learning; Reports; Festival, musical theater, concert; Reviews; Yodelers and Gstanzln; The other lexicon; Last but not least (as of 2013 :).


In this journal, those responsible at the National Library, the universities and the Academy of Sciences published on composers and their work / biography / reception, on total editions, on research fund grants and on projects by special musicians' societies. In the music magazine, which is tagged globally by RILM (Répertoire International de Littérature Musicale), leading authors published on the phases of music history:

I Baroque and classical music from the times of the princes

II “Viennese School” and the spiritual awakening of the turn of the century

First ÖMZ special volume in book form, 1961

III Music from 1945 to today's globalization

Academic teachers and composers were contacted in the research of contemporary music (e.g. Karlheinz Essl , Beat Furrer , Georg Friedrich Haas , Johannes Maria Staud , Herbert Willi ) and about the current situation ( Donaueschinger Musiktage , Darmstadt Summer Courses , Biennales in Munich , Witten or Venice ) reported regularly.

The focus of the knowledge transfer was on international musicology with many articles by the institutes for musicology at the Universities of Vienna, Salzburg, Graz, especially the University of Music and Performing Arts Vienna:

The desire to disseminate knowledge had been prepared in the Lafite family since Carl Lafite's Schubertiaden (1895), which culminated in the collaboration with OE Deutsch (1928) for the Schubert Year . Sound carrier articles from 1966 onwards (editors: Robert Werba, then Peter Cossé) provide an overview, the book reviews are knowledgeable (editors since 1980: Manfred Wagner , Carmen Ottner ). Moritz Csáky , Eberhard Würzl , Franz Mailer wrote about the popular operetta , Peter Weck , Hans-Dieter Roser about the musical and series dedicated to folk music by Walter Deutsch such as Gerlinde Haid .


In researching different understandings of interpretation, the ÖMZ devoted itself to the sound of the Philharmonic Orchestra / Viennese sound style , instrument making (horn), to the original sound movement (Josef Mertin performance practice). The initial contacts were with the conductors: Karl Böhm , Otto Klemperer , Josef Krips ; Wilhelm Furtwängler , Clemens Krauss , Bruno Walter , and Hans Swarowsky joined them; Michael Gielen , Nikolaus Harnoncourt , Herbert von Karajan followed.

Song singing blossomed with Julius Patzak such as Hilde Güden , Elisabeth Höngen , Erika Köth , Irmgard Seefried , later Juliane Banse , Ildikó Raimondi , Thomas Hampson (singer) , Bo Skovhus and others. am Great voice trainers such as Walter Berry or Dietrich Fischer-Dieskau contributed to the music magazine, as did the school-training choir directors Ferdinand Grossmann and Hans Gillesberger . Great pianists found the earliest support: Alfred Brendel , Jörg Demus , Friedrich Gulda , Alexander Jenner ; later Till Fellner , the Kutrowatz brothers, Gottlieb Wallisch , Marino Formenti . Organ knowledge of Johann Nepomuk David , Anton Heiller , Frank Martin , Kurt Rapf or in the church office of Hans Haselböck , Peter Planyawsky , Robert Lehrbaumer were discussed. Walter Salmen , Gerhard Stradner and Marianne Ronez explained the construction and playing of the violin, and Alfred Playavsky explained the double bass as a solo instrument . Before that, Eduard Melkus , Yehudi Menuhin , Riccardo Odnoposoff , Franz Samohyl and Enrico Mainardi had spoken about the art of the strings ; later Benjamin Schmid , Ernst Kovacic , Martha and Vahid Khadem-Missagh . Quartet formations such as ensembles of chamber music, also newer wind music or various orchestras from the training up to their amalgamation have recently been discussed.

The teachers at Austria's music universities were included, as well as seminars and courses - from the legendary interpretation seminars at the Vienna School with Schönberg's brother-in-law Rudolf Kolisch , the music seminars at the “International Summer Academy PragueWienBudapest” to song courses in Japan. Workshops on twelve-tone music at the Brussels Expo in 1958 were an exemplary breakthrough and were recognized as an ÖMZ seal of approval.

Festivals and Europeanization

ÖMZ presents the "Platform for Central Europe Culture" in China

As a pivotal point for Austria after 1945, the Salzburg Festival is promoted as a stage for internationality. Bernhard Paumgartner and the ÖMZ cooperate in setting goals, funding, and expansion projects. In 1950 the Federal Ministry of Education and Peter Lafite form the bill for the “Salzburg Festival Fund”. Clemens Holzmeister publishes on the festival halls in Salzburg (1950, 1956, 1970) also on theaters in Europe. The ÖMZ cooperates in special editions with “Tourismus” (from 1957), Sternstunden im Theater an der Wien (1961), Wiener Staatsoper 100 Jahre (German, English, French). In an overview, Austria’s new festival is presented in numbers and typifications by Manfred Wagner in 1980 and 2000. In addition, special editions were published with the countries in Central Europe (1992-1995-1998-2005); English-language specials were distributed globally on twelve European countries, Russia and the USA, and a Chinese-language edition for presentation in the Far East appeared with the foreign policy “Platform for Central Europe Culture”.


Each of the Lafite family had previously written as music critics in other publication media. In MUSIKZEITschrift, music criticism was positioned as the core in the media environment.

Editorial and editor-in-chief team

From its founding in 1946 until 1951, the ÖMZ was edited by Peter Lafite , after whose death his wife Elisabeth Lafite took over the management of the magazine. In 1980, their daughter, Marion Diderichs-Lafite, took over the editing of the ÖMZ and managed it until the end of the 65th year of 2010. From 2011 the editorial and editorial team consisted of Frieder Reininghaus , Daniel Brandenburg , Daniel Ender and Doris Weberberger, most recently replaced by Johannes Prominczel and Judith Kemp Ender and Weberberger.


Web links