Olaf Koch (conductor)

from Wikipedia, the free encyclopedia

Olaf Koch (born January 14, 1932 in Bebra near Sondershausen ; † August 22, 2001 in Halle (Saale) ) was a German conductor and university professor.

In 1964 he was appointed general music director at the Meininger Theater . At the end of the 1960s he turned to concert conducting and was chief conductor of the State Symphony Orchestra and the Halle Philharmonic for over twenty years , which he led to national recognition. Koch campaigned for contemporary works by East German ( Günter Kochan and others) and Soviet composers. In 1979 he received the GDR National Prize .

Initially appointed conducting professor in Weimar , he was rector of the Hanns Eisler University of Music in Berlin from 1982 to 1986 .

Life

Thuringian origin and socialization

Olaf Koch came from a working class family . It was built in 1932 as the son of Kali - pals in Thuringia Bebra at Sondershausen born and raised in Halle (Saale) on. He was also shaped by an anti-fascist milieu. Koch, who was himself a member of the Antifa youth, lost his brother Heinz Koch during National Socialism , who was executed in Berlin-Plötzensee in 1941 for high treason and treason .

After attending primary school, he learned cello, piano, composition and conducting at the Max Reger Conservatory in Sondershausen from 1945 to 1950. During this time he earned his living as a forest worker and dance musician . “Out of deep conviction,” as Wolfgang Herbrand put it, he turned to the state party in the GDR . Although he had already applied for membership at the age of twenty-one, he did not become a member of the SED until 1955 . In terms of cultural policy, he identified with the idea that art no longer only belongs to the elite, but to ordinary people.

Changing conductor stations

Meininger Theater (1953)

In 1950 Koch became a repetitor for ballet , opera and operetta and 2nd Kapellmeister in Meiningen, where he was promoted from then on by the theater director Fritz Diez . The focus of his activity was that of an operetta conductor. From 1955 to 1958 he was first conductor at the Theater des Friedens in Halle. There he premiered the ballet “Kreuzbauer Ulrike” by Carl-Heinz Dieckmann , which was choreographed by Henn Haas and played during the Wars of Liberation . In 1958 he went to the Stralsund City Theater as musical director . He brought his assistant director Harry Kupfer with him from Halle, who was the only music theater director to direct the following operas for him in Stralsund: Der Freischütz by Carl Maria von Weber , Enoch Arden by Ottmar Gerster and Die lustigen Weiber von Windsor by Otto Nicolai . In 1960/61 he moved to the Altmark Theater in Stendal as music director . In 1961 he realized a joint project with the Hungarian refugee Béla Hollai in Göttingen, West Germany, between the Gottingen and Stendal symphony orchestras with works by Josef Suk , Aram Chatschaturjan , Carl Maria von Weber and Robert Schumann .

General Music Director at the Meininger Theater

At the instigation of the GDR authorities and at his own request, he returned to the Meiningen Theater from November 1961 to 1967. This time he was hired as head music director, and in 1964 he was appointed general music director . For Alfred Erck , Koch was “equipped with perfect hearing , loving the big note, savoring dramatic moments very well, he declared war on inaccuracies, even sloppiness and was feared by orchestral musicians and singers alike”. At the time, the soloist ensemble included a. Günther Hofmann , Ines Kurz-Markgraf and Volker Schunke . A novelty was that from 1964 he brought Eastern European bel canto soloists such as Sandor Arizs and Virginia Keranowa to Meiningen. Accordingly, he initially had Italian operas by Giuseppe Verdi and Giacomo Puccini performed. In 1962 Koch also took over the direction of the Rüdiger Flohr production of Handel's Ezio in the musical version by Max Schneider . His authoritarian leadership style and his dominance with regard to the soloists met in Meiningen with the innovations of the director Hans Günter Nebel , who was shaped by Felsenstein's musical theater. Both came together in Russian music drama, for example in Mussorgsky's Boris Godunow . In addition, Wagner and Strauss productions were made. Koch's preference, however, was for symphonies, whereby he particularly valued Ludwig van Beethoven . Later he also added the concert music of Slavic composers such as Modest Mussorgsky and Dmitri Shostakovich to his repertoire. In 1967 he realized the German premiere of the 1st symphony by Nina Makarowa , Aram Khachaturian's wife. He also premiered Wolfgang Hohensee's “Symphonic Poem for Two Pianos and Orchestra” on the occasion of the Thuringian Music Days in 1966 with the Berlin pianists Eberhard Rebling and Siegfried Stöckigt . According to Gert Richter , he led the orchestra of the Meininger Theater "to a higher musical level". Koch himself regarded the time in Meiningen as the most formative of his career.

Chief Conductor of the Halle Philharmonic

From 1967 Koch turned increasingly to concert conducting and succeeded Karl-Ernst Sasse as director and chief conductor of the State Symphony Orchestra in Halle . Koch “wanted to form an orchestra that would meet his high expectations,” as journalist Gisela Heine put it. In Halle, he helped shape the Handel Festival and the Music Days with the orchestra . For example, on the occasion of the 1970 Handel Festival, he conducted Beethoven's Triple Concerto , which was interpreted by the Soviet guest musicians, the violin virtuoso Oleg Kagan , the pianist Elisabeth Leonskaja and the cellist Natalia Gutman . He took part in the Wittenberg “Weeks of Contemporary Music” in 1971 with a performance of Janáček's Sinfonietta . He also premiered and premiered several contemporary musical works by GDR composers. a. 1969 Heinz Röttger's Violin Concerto (with Gustav Schmahl ) and 1970 Hans Jürgen Wenzel's “Trassensinfonie”. Wenzel's work, however, which had not been awarded by the Composers' Association of the GDR (VKM), led to a conflict with Koch, whereupon the latter initially postponed contemporary music and thus actually sound creations from the region in the program planning from the 1970s and from 1979 also in Wenzel's progressive “Konfrontation” series of the Halleschen Philharmonie was outsourced.

In 1972 Koch took over the management of the Hallesches Philharmonie , which emerged from the former State Symphony Orchestra, the Robert-Franz-Singakademie and the Stadtsingechor zu Halle ; In addition, a separate chamber orchestra , which he directed from 1973 to 1984, and two wind groups were formed. According to the musicologist Konstanze Musketa , this created “a versatile and efficient ensemble” from which “essential impulses for the musical life of the region” originated. In 1976 he conducted the gala concert on the occasion of the inauguration of the concert hall on the boulevard , which was to replace the Steintor-Varieté as the main venue. Koch spoke out in favor of a “ democratization of concert life”, which was expressed in introductions to the works and in discussions as well as in concert planning. According to Richter, his factory and school concerts were an effort to “introduce those circles to classical music”. The concerts were largely sold out. The ensemble's repertoire encompassed symphonic music from the classical to modern times. Thanks to the choir-orchestra connection, oratorios by Georg Friedrich Handel could be performed repeatedly . To mark the 450th anniversary of the German Peasant War , it premiered the oratorio “The Answer” by Wolfgang Hohensee with a text by Paul Wiens under Koch's direction in the Mühlhausen Marienkirche . The contribution of the symphony orchestra, the chamber orchestra and the chamber music ensembles to contemporary music should also be expressed in further premieres. However, composers from the Halle-Magdeburg area were barely considered in the Philharmonie. Because of his inactivity, Koch was not re-elected as chairman of the interpreters section (1972-1976) in the relevant district association of the VKM. On the other hand, Koch chose “never based on belonging to trends and fashions, but always with regard to their musical quality”, as Richter explained. The “effect of the sound result” was also important for Koch. The works presented included u. a. 1972 Alan Bush's symphonic movement for piano and orchestra "Africa" ​​(with Alan Bush), 1974 Fritz Geißler's Symphony No. 8, 1975 Günter Kochan's viola concerto (with Alfred Lipka ), 1981 Wolfgang Stendel's cello concerto (with Hans-Joachim Scheitzbach ) and 1989 Kurt Schwaen's 2nd piano concerto (with Nu Nguyet Minh sound ) and Dietrich Boekle's new version of the concerto for large orchestra. The ensemble was regularly invited to the large alternating music festivals in East Berlin , the GDR Music Days and the Music Biennale . In 1989 he performed at the Dresden Days of Contemporary Music . "International recognition" was also clearly visible under Koch's direction, as Musketa emphasized. Numerous guest performances have taken the orchestra to the so-called Eastern Bloc . "Authority and negotiating flair" Kochs, as it was called in an obituary in the Mitteldeutsche Zeitung from Halle, made it possible for the Philharmonie to make concert tours to western countries from 1975 onwards . According to the musicologist Achim Heidenreich , in addition to these regular events, which were well received in the Federal Republic of Germany, DKP organized workers' concerts were also served, which, on the other hand, were not very popular. The dramaturge Gerd Richter perceived Koch in Halle as “an imaginative, outstanding artist and a clever manager”. He was impressed by "his high musicality and his elegant, but also precise striking technique, his ability to accurately assess the effect of a piece of music while reading the score, but also to convey this to the interpreter and ultimately to the audience". Koch had a "penchant for a certain theatricality", according to Richter, and had a "strong, at times egocentric personality". Despite not having studied at a music college, he was "open to all artistic and intellectual stimuli, yes, he had a marked thirst for knowledge" and also dealt with the maxims of historical performance practice .

During his time in Halle, Koch helped GDR compositions to be premiered by the Soviet Union in Moscow, such as the “Little Music for Orchestra” and the violin concerto (with Wiktor Pikaisen ) by Ruth Zechlin in 1965 and the 2nd Symphony by Günter Kochan in 1971 . In 1973 he also premiered Dumitru Bughici's symphonic "Suite of Pictures from the History of Romania" with the Romanian Radio Symphony Orchestra in Bucharest . In 1984 he became a member of the “Kuratorium Schauspielhaus ”, which was headed by Peter Schreier , and in 1985 of the GDR committee for the 750th anniversary of Berlin .

After the Halle choir director Hans-Martin Uhle , Koch "led the orchestra to the upper berth". He was "an excellent conductor and good orchestra teacher". His obsession with power, which the then choirmaster of the Robert Franz Singing Academy “ Hartmut Haenchen increasingly suffered” from, was not without problems . Koch used his party membership to thwart Haenchen's artistic activity with the orchestra. As a consequence, Haenchen left Halle in 1972. At the same time, he did not have a good relationship with Haenen's successor, Wolfgang Unger .

Koch's tendency to be close to the state, which had been viewed as a “political vicious circle”, led to resignation in Halle after an uncomfortable result at the end of 1989. In accordance with the request of the orchestra board, he nevertheless continued his work until the end of the 1989/90 season, so that he was able to give his last concert in the city of Saale with the final concert of the 39th Handel Festival. According to Gilbert Stöck , Koch affirmed "the cultural policy line of the state party outwardly with often pithy words". For the musicologist and Masur biographer Johannes Forner he was considered a "political hardliner and problematic in human interaction". Nevertheless, Richter emphasized: "His socio-political ideas did not rule out criticism of political realities". Shortly before his death, he reported to Richter that he “saw himself cheated of his ideals by the rulers of the GDR”.

End of career in Suhl

In 1990 Koch returned to his Thuringian homeland and became chief conductor and director of the Thuringia Philharmonic in Suhl . With the new ensemble he made guest appearances at home and abroad. In 1993 he tried unsuccessfully to return to the Meiningen Theater. In 1994/95 he was chief conductor together with Jean-Paul Penin and in 1995/96 guest conductor in Suhl.

Koch was also involved in building up the orchestra in Thessaloniki and Tokyo . He received guest conductors in Greece (1996) and China / Taiwan (1997).

Teaching commitments

Liszt School of Music Weimar (1979)

Another focus of my work was orchestra education. In 1972 he began teaching at the Felix Mendelssohn Bartholdy University of Music in Leipzig, where in 1979 he became chairman of the orchestra council. He was available as a guest conductor for the university symphony orchestra. In September 1975 he received a professorship with a teaching position for conducting at the Liszt School of Music Weimar , which he held again from 1987 to 1993.

From 1982 to September 1986 he was Dieter Zechlin's successor as Rector of the Hanns Eisler Music Academy in Berlin . During this time, the personal union between the artistic and the state management of the orchestra was abolished in Halle ; Wolfgang Pfeiffer was the director of the Philharmonie. Koch was often represented by his deputy Karl-Heinz Zettel .

He was also visiting professor in Tokyo (Japan), Havana (Cuba) and Pyongyang (North Korea).

Since the 1970s, Koch has led a conductor's seminar in Halle, which is the responsibility of the Ministry of Culture and which turned the orchestra into a kind of “practice orchestra”, as well as the seminars with the composition students for rehearsal. Koch was also a member of the Permanent Jury Conducting of the GDR, which was headed by Kurt Masur . In 1992 he led the course of the resulting Conductors Forum of the German Music Council in Suhl.

His students included u. a. Peter Aderhold , Christfried Göckeritz , Christian Rudolf Riedel and István Ella , but also conductors such as Dobrin Panajotow , Helga Sippel , Dorothea Köhler and Johanna Martens as well as Johanna Weitkamp . In Thessaloniki Cosima Sophia Osthoff was Koch's assistant.

family

Olaf Koch was married five times. From his 1954 marriage with the actress and director Sieglinde Wiegand (1929-2018), the director Stephanie Koch (* 1955) emerged. His third marriage was with the actress Monika Reh . At times he was married to the violinist Kathinka Rebling (* 1941). Koch had a gun license and was considered a passionate hunter .

Koch died in 2001 in Halle (Saale). In 2006, a memorial plaque was unveiled at his birthplace in Sondershausen-Bebra on the initiative of the Bebra men's choir . On the occasion of the 100th anniversary of the choir, the song "Born from the strength to live" was dedicated to Koch.

Awards

He was also the recipient of the Béla Bartók Medal and the honorary award of the Soviet Composers' Association, which he received for the interpretation of commissioned works.

Discography (selection)

literature

  • Günther Buch: Names and dates of important people in the GDR . 4th, revised and expanded edition. Dietz, Berlin a. a. 1987, ISBN 3-8012-0121-X , p. 164.
  • Herbert A. Frenzel , Hans Joachim Moser (ed.): Kürschner's biographical theater manual. Drama, opera, film, radio. Germany, Austria, Switzerland . de Gruyter, Berlin 1956, p. 370.
  • Gisela Heine: The Philharmonic State Orchestra Halle . G. Heine, Halle (Saale) 1997, p. 37 ff.
  • Wolfgang Herbrand: What does Olaf Koch actually do . In: Monika Zimmermann (Ed.): What actually does ...? 100 GDR celebrities today . Links, Berlin 1994, ISBN 3-86153-064-3 , pp. 134-136 (previously published as: What does it do? Olaf Koch . In: Neue Zeit , September 26, 1992, vol. 48, issue 226, p. 2).
  • Andreas Herbst , Winfried Ranke, Jürgen Winkler: This is how the GDR worked . Volume 3: Lexicon of functionaries (= rororo manual , 6350). Rowohlt, Reinbek bei Hamburg 1994, ISBN 3-499-16350-0 , p. 178.
  • Rosemarie Preuss: Cook, Olaf . In: Gabriele Baumgartner, Dieter Hebig (Hrsg.): Biographisches Handbuch der SBZ / DDR. 1945–1990 . Volume 1: Abendroth - Lyr . Saur, Munich 1996, ISBN 3-598-11176-2 , p. 411.
  • Gert Richter: My thoughts on the death of Olaf Koch . In: Handel house communications 3/2001, p. 19.
  • Gilbert Stöck: New music in the districts of Halle and Magdeburg during the GDR. Compositions, politics, institutions . Schröder, Leipzig 2008, ISBN 978-3-926196-50-7 , p. 247 ff.

Web links

Individual evidence

  1. ^ A b c Gisela Heine: The Philharmonic State Orchestra Halle . G. Heine, Halle (Saale) 1997, p. 37.
  2. ^ A b c Andreas Herbst , Winfried Ranke, Jürgen Winkler: This is how the GDR worked . Volume 3: Lexicon of functionaries (= rororo manual . 6350). Rowohlt, Reinbek bei Hamburg 1994, ISBN 3-499-16350-0 , p. 178.
  3. ↑ a b c d e f g Günther book: Names and dates of important people in the GDR . 4th, revised and expanded edition. Dietz, Berlin a. a. 1987, ISBN 3-8012-0121-X , p. 164.
  4. ↑ a b c Wolfgang Herbrand: What does Olaf Koch actually do . In: Monika Zimmermann (Ed.): What actually does ...? 100 GDR celebrities today . Links, Berlin 1994, ISBN 3-86153-064-3 , pp. 134-136, here: p. 134.
  5. ↑ a b c d e f g h Rosemarie Preuß: Koch, Olaf . In: Gabriele Baumgartner, Dieter Hebig (Hrsg.): Biographisches Handbuch der SBZ / DDR. 1945–1990 . Volume 1: Abendroth - Lyr . Saur, Munich 1996, ISBN 3-598-11176-2 , p. 411.
  6. ^ Gilbert Stöck: New music in the districts of Halle and Magdeburg at the time of the GDR. Compositions, politics, institutions . Schröder, Leipzig 2008, ISBN 978-3-926196-50-7 , p. 256 / fn. 438.
  7. ↑ a b c d From strength to life. Memorial plaque unveiled at the birthplace of General Music Director Olaf Koch. In: Thüringer Allgemeine , January 16, 2006, p. TASH216.
  8. ↑ Olaf Koch: Artists experience the happiness of being used . In: Neues Deutschland , September 14, 1979, vol. 34, edition 217, p. 3.
  9. ^ Gisela Heine: The Philharmonic State Orchestra Halle . G. Heine, Halle (Saale) 1997, p. 38.
  10. ^ Georg-Michael Wagner : Wilhelm Tell, Peer Gynt and Fucik. The actor Fritz Diez celebrated his 70th birthday . In: Neue Zeit , February 28, 1971, vol. 27, issue 50, p. 4.
  11. ↑ a b c d e f Alfred Erck: History of the Meininger Theater . South Thuringian State Theater, Meiningen 2006, p. 188.
  12. ^ Fred K. Prieberg : Music in Another Germany . Verlag Wissenschaft und Politik, Cologne 1968, p. 241.
  13. ↑ esche: dance game from the war of liberation. “Kreuzbauer Ulrike” by Henn Haas premiered in Halle . In: Neue Zeit , June 25, 1958, vol. 14, issue 144, p. 4.
  14. ↑ Dieter Kranz: On the trail of the present. The opera director Harry Kupfer . Henschel, Berlin 2005, ISBN 3-89487-522-4 , pp. 18f.
  15. ↑ Dieter Kranz : On the trail of the present. The opera director Harry Kupfer . Henschel, Berlin 2005, ISBN 3-89487-522-4 , p. 348.
  16. ^ Joseph Schmidt: All-German chords in minor. The "temporarily united" orchestras from Göttingen and Stendal on an interzone tour . In: Süddeutsche Zeitung , January 10, 1961, No. 8, p. 3; Dietrich L .: United by the strong bond of music. The symphony orchestras of Göttingen and Stendal gave concerts together . In: Neue Zeit , January 31, 1961, Volume 17, Issue 26, p. 4.
  17. ^ A b c Alfred Erck: History of the Meininger Theater . Südthüringisches Staatstheater, Meiningen 2006, p. 187.
  18. ↑ a b c d e Alfred Erck: History of the Meininger Theater . Südthüringisches Staatstheater, Meiningen 2006, p. 189.
  19. ↑ Olaf Koch conducted in Moscow . In: Neues Deutschland , January 15, 1967, vol. 22, edition 15, p. 8.
  20. ↑ HJS, KHF: Two world premieres. New compositions by Kochan and Hohensee . In: Neues Deutschland , May 3, 1966, vol. 21, issue 121, p. 6.
  21. ↑ a b c d e f g h i j Gert Richter: My thoughts on the death of Olaf Koch . In: Handel house communications 3/2001, p. 19.
  22. ^ Alfred Erck: History of the Meininger Theater . South Thuringian State Theater, Meiningen 2006, p. 190.
  23. ↑ a b c d e f g h i On the death of Olaf Koch. In the beat between music and state. Conductor led the Philharmonie Halle for 23 years . In: Mitteldeutsche Zeitung , August 31, 2001.
  24. ↑ Karin Zauft: Handel and the Handel Festival in Halle. Mitteldeutscher Verlag, Halle (Saale) 2001, ISBN 978-3-89812-085-2 , p. 52.
  25. ^ A b Philharmonic formed in Halle . In: Berliner Zeitung , December 28, 1972, vol. 28, issue 358, p. 2.
  26. ↑ Wolfgang Hanke: Parallels emerged. Handel Festival under the sign of the Beethoven year . In: Neue Zeit , June 17, 1970, vol. 26, issue 141, p. 4.
  27. ↑ Dr. S: Art of the neighboring peoples. Wittenberg Weeks of Contemporary Music . In: Neue Zeit , April 23, 1971, vol. 27, issue 94, p. 4.
  28. ↑ Henz Röttger, Hanns-Jürgen Rusch: Sonorous gifts for the feast day of the republic. The Dessau general music director and composer Prof. Dr. Heinz Röttger on his latest work and plans . In: Neue Zeit , April 26, 1969, vol. 25, issue 97, p. 3.
  29. ^ Hansjürgen Schaefer : A new way not a comfortable country road. On some problems after the world premiere of the “Trassensinfonie” in Halle . In: Neues Deutschland , May 31, 1970, vol. 25, edition 148, p. 6.
  30. ^ Dorothea Trebesius: Composition as a Profession: France and the GDR in Comparison (1950–1980) (= Modern European History, Volume 4). Wallstein-Verlag, Göttingen 2012, ISBN 978-3-8353-1067-4 , p. 121f.
  31. ^ Gilbert Stöck: New music in the districts of Halle and Magdeburg at the time of the GDR. Compositions, politics, institutions . Schröder, Leipzig 2008, ISBN 978-3-926196-50-7 , pp. 249f .; Examples of world premieres in the 1970s include: a. Gerhard Wohlgemuth's “Symphonic Music for Large Orchestra” and Paul Kurzbach's cantata “Portrait of a Worker”, cf. Hans-Joachim Kynaß: Missed partnership before a gala concert . In: Neues Deutschland , May 29, 1971, vol. 26, edition 147, p. 15.
  32. ^ Konstanze Musketa: Music history of the city of Halle. Guide to the exhibition in the Handel House . Handel House, Halle an der Saale 1998, ISBN 3-910019-13-7 , p. 94.
  33. ^ Gilbert Stöck: New music in the districts of Halle and Magdeburg at the time of the GDR. Compositions, politics, institutions . Schröder, Leipzig 2008, ISBN 978-3-926196-50-7 , pp. 251f.
  34. ↑ a b c d e Gisela Heine: The Philharmonic State Orchestra Halle . G. Heine, Halle (Saale) 1997, p. 20.
  35. ^ A b Hans-Joachim Kynaß: Concerts for a large audience. Discussion with General Music Director Prof. Olaf Koch about initiatives by the Hallescher Philharmonie . In: Neues Deutschland , February 18, 1978, vol. 33, issue 42, p. 11.
  36. ↑ a b c d e f Konstanze Musketa : Music history of the city of Halle. Guide to the exhibition in the Handel House . Handel House, Halle an der Saale 1998, ISBN 3-910019-13-7 , p. 86.
  37. ^ Construction workers first visitors to the new concert hall in Halle . In: Neues Deutschland , May 15, 1976, vol. 31, issue 116, p. 2.
  38. ↑ Werner Schönsee: Dialogue of the Centuries. World premiere of an oratorio for the anniversary of the Peasants' War . In: Neue Zeit , March 24, 1975, vol. 31, issue 70, p. 4.
  39. ^ Gilbert Stöck: New music in the districts of Halle and Magdeburg at the time of the GDR. Compositions, politics, institutions . Schröder, Leipzig 2008, ISBN 978-3-926196-50-7 , p. 255.
  40. ^ Gilbert Stöck: New music in the districts of Halle and Magdeburg at the time of the GDR. Compositions, politics, institutions . Schröder, Leipzig 2008, ISBN 978-3-926196-50-7 , pp. 255f.
  41. ↑ Stewart R. Craggs (endorsement): Alan Bush: a source book . Ashgate, Aldershot et al. a. 2007, ISBN 978-0-7546-0894-3 , p. 106.
  42. ↑ Halle premiere . In: Neues Deutschland , October 2, 1974, vol. 29, edition 272, p. 4.
  43. ↑ Hans-Peter Müller: Vorandrängende Kraft. Günter Kochan's viola concerto premiered . In: Berliner Zeitung , February 19, 1975, vol. 31, issue 43, p. 6.
  44. ↑ Renate Parschau: Successful attempts and proven works. VIII. Music Biennale: Hallesche Philharmonie . In: Berliner Zeitung , February 19, 1981, vol. 37, issue 42, p. 7.
  45. ↑ So far nine world premieres for the XII. Music biennial . In: Neue Zeit , February 20, 1989, vol. 45, issue 43, p. 1.
  46. ↑ Dorothea Trebesius: Composition as a Profession: France and the GDR in Comparison (1950–1980) (= Modern European History , Volume 4). Wallstein-Verlag, Göttingen 2012, ISBN 978-3-8353-1067-4 , p. 254.
  47. ↑ Thomas Feist: Moving clay creations by modern masters. 3. Dresden Days of Contemporary Music . In: Neues Deutschland , October 3, 1989, vol. 44, edition 233, p. 4.
  48. ↑ Achim Heidenreich: Sympathy for the Champ: Anniversary: ​​The Philharmonic State Orchestra Halle celebrates . In: Frankfurter Allgemeine Zeitung , January 3, 1997, No. 2, p. 25.
  49. ↑ Applause for Ruth Zechlin . In: Neue Zeit , April 10, 1965, vol. 20, issue 85, p. 3.
  50. ↑ From cultural life . In: Neues Deutschland , February 19, 1971, vol. 26, issue 50, p. 4.
  51. ↑ Conducted in Bucharest . In: Berliner Zeitung , November 10, 1973, vol. 29, issue 311, p. 6.
  52. ↑ Foundation of the Schauspielhaus Board of Trustees . In: Berliner Zeitung , April 26, 1984, vol. 40, issue 99, p. 7.
  53. ↑ Committee of the GDR to 750iähngen existence of Berlin 1987. committee in preparation for the anniversary met in the State Council . In: Berliner Zeitung , February 8, 1985, vol. 41, issue 33, p. 2.
  54. ^ A b c Hans-Martin Uhle: Wolfgang Unger in Halle . In: Johannes Unger (Hrsg.): Wolfgang Unger: Life for Music . Norderstedt 2011, ISBN 978-3-8423-3937-8 , pp. 25-38, here: p. 26.
  55. ↑ a b Hans-Martin Uhle: Wolfgang Unger in Halle . In: Johannes Unger (Hrsg.): Wolfgang Unger: Life for Music . Norderstedt 2011, ISBN 978-3-8423-3937-8 , pp. 25-38, here: p. 27.
  56. ^ Hans-Martin Uhle: Wolfgang Unger in Halle . In: Johannes Unger (Hrsg.): Wolfgang Unger: Life for Music . Norderstedt 2011, ISBN 978-3-8423-3937-8 , pp. 25-38, here: p. 34.
  57. ↑ a b Wolfgang Herbrand: What does Olaf Koch actually do . In: Monika Zimmermann (Ed.): What actually does ...? 100 GDR celebrities today . Links, Berlin 1994, ISBN 3-86153-064-3 , pp. 134-136, here: pp. 134f.
  58. ^ Gilbert Stöck: New music in the districts of Halle and Magdeburg at the time of the GDR. Compositions, politics, institutions . Schröder, Leipzig 2008, ISBN 978-3-926196-50-7 , p. 247.
  59. ↑ Johannes Forner: Responsibility and Passion. Wolfgang Unger's Leipzig years . In: Messages from the Friends and Sponsors of the Handel House in Halle e. V. 1/2018, pp. 36-43, here: pp. 37f.
  60. ↑ Wolfgang Herbrand: What does Olaf Koch actually do . In: Monika Zimmermann (Ed.): What actually does ...? 100 GDR celebrities today . Links, Berlin 1994, ISBN 3-86153-064-3 , pp. 134-136, here: pp. 135f.
  61. ↑ Wolfgang Hocke : Behind the scenes. Thirty-six years at the Meininger Theater . Hartmann, Sondheim vd Rhön 1997, ISBN 3-926523-41-7 , p. 279f.
  62. ↑ Ingward Ullrich : Hildburghäuser musicians. A contribution to the music history of the city of Hildburghausen . Verlag Frankenschwelle, Hildburghausen 2003, ISBN 3-86180-129-9 , pp. 134, 267.
  63. ↑ Christian Fanghänel, Heike Bronn: From the "orchestral school" to the university symphony orchestra . In: MT-Journal. Journal of the University of Music and Theater "Felix Mendelssohn Bartholdy" Leipzig , No. 26 (2009), supplement, pp. 1–5, here: p. 5.
  64. ^ New rector at the Berlin Conservatory . In: Berliner Zeitung , September 8, 1982, vol. 38, issue 211, p. 7.
  65. ↑ Prof. Ragwitz Rector of the Berlin University of Music . In: Neues Deutschland , September 20, 1986, vol. 41, edition 223, p. 11.
  66. ^ History of the university. hfm-berlin.de; accessed on April 12, 2020.
  67. ^ A b c Gisela Heine: The Philharmonic State Orchestra Halle . G. Heine, Halle (Saale) 1997, p. 40.
  68. ↑ a b c Olaf Koch, Klaus Klingbeil: A heart for young conductors. Interview of the week with national prize winner General Music Director Prof. Dr. Olaf Koch, Rector of the "Hanns Eisler" University of Music in Berlin, and Chief Conductor of the Halleschen Philharmonie . In: Neue Zeit , January 8, 1983, vol. 39, issue 6, p. 7.
  69. ^ Artistic director. dirigentenforum.de; accessed on April 12, 2020.
  70. ↑ Detlef Friedrich: So that someone is ahead . In: Berliner Zeitung , February 19, 1988, vol. 44, issue 42, p. 7.
  71. ↑ International Working Group Archive Women and Music (ed.): European Conductor Reader (= series of publications of the International Working Group Women and Music , Volume 4). Furore-Verlag, Kassel 2003, ISBN 3-927327-55-7 , p. 180.
  72. ↑ International Working Group Archive Women and Music (ed.): European Conductor Reader (= series of publications of the International Working Group Women and Music , Volume 4). Furore-Verlag, Kassel 2003, ISBN 3-927327-55-7 , p. 121.
  73. ↑ a b Wolfgang Hocke : Behind the scenes. Thirty-six years at the Meininger Theater . Hartmann, Sondheim vd Rhön 1997, ISBN 3-926523-41-7 , p. 49f.
  74. ^ Gisela Heine: The Philharmonic State Orchestra Halle . G. Heine, Halle (Saale) 1997, p. 158.
  75. ↑ Wolfgang Hocke : Behind the scenes. Thirty-six years at the Meininger Theater . Hartmann, Sondheim vd Rhön 1997, ISBN 3-926523-41-7 , p. 48f.
  76. ^ Max Reger Art Prize . In: Neue Zeit , October 9, 1964, vol. 20, edition 237, p. 4.
  77. ↑ a b Christoph Rink: Chronology of the Handel price . In: Messages from the Friends and Sponsors of the Handel House in Halle e. V. 1/2012, pp. 20-25, here: p. 24.
  78. ↑ Hans-Joachim Kynaß: Multi- colored Estrade of our young art. Festive prelude to the FDJ's cultural conference . In: Neues Deutschland , July 12, 1975, vol. 30, issue 164, p. 4.
  79. ↑ GDR art prizes awarded . In: Berliner Zeitung , May 27, 1976, vol. 32, issue 126, p. 6.
  80. ↑ High awards given . In: Berliner Zeitung , October 2, 1979, vol. 35, issue 232, p. 5.
personal data
SURNAME Cook, Olaf
BRIEF DESCRIPTION German conductor and university professor
DATE OF BIRTH January 14, 1932
PLACE OF BIRTH Bebra near Sondershausen
DATE OF DEATH August 22, 2001
Place of death Halle (Saale)