Peter Sühring

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Peter Sühring (* 1946 in Berlin-Charlottenburg ) is a German musicologist , publicist and music critic .

Live and act

Peter Sühring was born in Berlin-Charlottenburg and grew up there. He was a choirboy in the State and Cathedral Choir and learned to play the cello and the piano . From 1967 to 1971 and from 2001 to 2002 he studied musicology , literature and philosophy in Tübingen and Berlin . Adherence to the "Great Refusal" recommended by Alfred North Whitehead, Simone Weil and Herbert Marcuse: 1972–81 work in printing and publishing houses, as well as a cadre in the youth workers and as a works council in the book wholesale trade. Bookseller in the scientific range in Tübingen and Berlin from 1981–98. Entry into historical music research with Elisabeth Musiquen (Academy for Historical Performance Practice Berlin) in the years 1999–2002. Today he lives and works as a music historian and publicist in Bornheim and Berlin.

In 2002 he wrote his master's thesis on the rhythm of the trobadors at the Humboldt University in Berlin . In 2004 he compiled a catalog of the Berlin and Łódź holdings of the Philipp Spitta (musicologist) library , supported by the Ernst von Siemens Music Foundation . In 2006 he received his doctorate with a thesis on Wolfgang Amadeus Mozart's childhood operas at Saarland University. He researched the German musicologist Gustav Jacobsthal from 2007 to 2009 as a scholarship holder of the German Research Foundation (DFG) and from 2009 to 2012 as a research assistant at the University of the Arts Berlin and published a selection edition of his estate in 2010 and a scientific biography about him in 2012 . In addition, he edited other previously unpublished writings by Gustav Jacobsthal. One focus of his work is Judaism in music and literature, as well as questions of anti-Semitism.

He has also published on the composers, musicologists, philosophers and writers Jean-Philippe Rameau , Wolfgang Amadeus Mozart , Felix Mendelssohn Bartholdy , Robert Schumann , Jean-Jacques Rousseau , Heinrich Heine , Friedrich Hölderlin , Gertrud Kolmar , Karl Marx , Eduard Grell , Adolf Bernhard Marx , Philipp Spitta (musicologist) and Hermann Kretzschmar .

Since 1995 he has also worked as a music critic. His reviews were initially mainly published in daily newspapers, and in recent years increasingly in online media. Sühring is u. a. since 1999 permanent freelancer for Concerto - Das Magazin für Alte Musik . He has been working as an indexer of older German-language music magazines for the Répertoire internationale de la presse musicale (RIPM), Baltimore / USA, since 2012.

He represents a unified, intrinsically multi-dimensional musicology and a conception of music history that goes beyond the division of epochs and normative aesthetics. Instead, he strives for a musical poetics of the individual musical artist and a hermeneutics of the individual musical work of art, the meaning of which is mostly buried under cultural discourses.

Publications (selection)

Books

  • The Rhythm of the Trobadors - On the Archeology of a History of Interpretation , Logos, Berlin 2003, ISBN 3-8325-0367-6
  • with Krystyna Bielska: Catalog of the Spitta Collection . Published by the Berlin University of the Arts and the Library of the University of Łódź. Inventories Volume 3, Berlin 2005 (= writings from the archive of the Berlin University of the Arts ).
  • The earliest operas of Mozart. Investigations following Jacobsthal's Strasbourg lectures , Bärenreiter, Kassel 2006, ISBN 978-3-7618-1895-4 (also dissertation at Saarbrücken University 2006).
  • Gustav Jacobsthal - a musicologist in the German Empire. Music in the midst of nature, history and language. An idea and cultural history biography with letters and documents , Olms-Verlag, Hildesheim 2012.
  • Gustav Jacobsthal : Happiness and Misery of a Music Researcher Centrum Judaicum , Hentrich & Hentrich , Berlin 2014, ISBN 978-3-95565-042-1 (= Jewish miniatures . Volume 149).
  • Felix Mendelssohn. The (un) accomplished Tonkünstler Hentrich & Hentrich , Berlin 2018, ISBN 978-3-95565-285-2 (= Jewish miniatures , volume 227,)

As editor

  • Gustav Jacobsthal - "The composer's most intimate intentions are obscured by all sorts of secondary considerations". Fragments from a Mozart lecture (Strasbourg in the summer of 1888), from the handwritten estate, ed. by Peter Sühring, in: Idomeneo program of the Salzburg Festival and the Festspielhaus Baden-Baden, June 2000, pp. 70–72.
  • Gustav Jacobsthal - The music theory of Hermann von Reichenau . In: Musiktheorie 16 (2001), pp. 3–39.
  • Gustav Jacobsthal - Preliminary thoughts on improving the musical conditions at the Prussian universities. Memorandum to the Prussian Ministry of Culture in 1883, as well as the reports by Philipp Spitta and Heinrich Bellermann . In: Yearbook of the State Institute for Music Research Berlin , Preußischer Kulturbesitz, Stuttgart 2002, pp. 295–322. Together with an editorial preliminary remark and a commentary on the history of ideas and music education by the editor also online: [2] , accessed on April 6, 2020.
  • Gustav Jacobsthal - transitions and detours in the history of music. From Strasbourg lectures and studies, Codex Montpellier, Palestrina, Monteverdi, Haydn, Emanuel Bach, Mozart , Olms-Verlag, Hildesheim 2010.
  • Gustav Jacobsthal - The Codex Montpellier. Description and investigation , online only: [3] or [4] , accessed on April 16, 2019.
  • Gustav Jacobsthal - The operas from Mozart's childhood. Lecture sketches, Strasbourg 1888 , online only: [5] , accessed on August 15, 2019.

Essays on the Internet

Articles and lectures in print media

About Wolfgang Amadeus Mozart:

  • About the “very strange goût” of an adagio from Mozart's opus I, composed in Paris in 1764 . In: Concerto. Das Magazin für Alte Musik 19 (2003) No. 181, March 2003, pp. 23–26.
  • A four-hand sonata - “never before done anywhere”? With an appendix to KV 19d . In: Mozart Studies, Vol. 13, Tutzing 2004, pp. 209–229.
  • A childhood artist and his fatherly educator. About Wolfgang and Leopold Mozart . In: Concerto. Das Magazin für Alte Musik 22 (2006), No. 206 and 208, February and June 2006.
  • The artist in the boy Mozart . In: Musik & Ästhetik 10 (2006), No. 39, July 2006, pp. 5–19.
  • Music that follows actions, situations and moods. On drama and composition in Mozart's first stage attempts , Salzburg / Vienna 1767/68. In: Mozart Yearbook 2006, Kassel 2008, pp. 209–221. Online: Collection of literature on music from the electronic documents of the Frankfurt / Main University Library, accessed on September 24, 2014 .
  • Both ad libitum and obligatory accompanying. The violin part in Mozart's accompanied Clavecin sonatas, Paris 1763/64, (KV 6–9) . In: Mozart Studies XVI, Tutzing 2007, pp. 91–114.
  • Bachian spirit from Mozart's hands? Mozart's four new string trio introductions to four three-part fugues by Johann Sebastian and Wilhelm Friedemann Bach (KV 404a), explained out of their context. Lecture at the 6th Dortmund Bach Symposium, June 2006 . In: Bach and the German tradition of composing. Reality and Ideology, ed. by Reinmar Emans and Wolfram Steinbeck, Dortmund 2009, pp. 109–121, as well as in: acta mozartiana 55 (2008), volume 3/4, pp. 101–110.
  • Questions to Mozart's Idomeneo. Notes on edition and performance practice . In: Die Musikforschung 62 (2008), pp. 222–232. Online: Collection of literature on music from the electronic documents of the Frankfurt / Main University Library, accessed on September 24, 2014 .
  • "Magnanimous opera" or tragic operetta? On Mozart's “Fragment” Zaide. In: Music & Aesthetics. Issue 81, January 2017, pp. 76–90. Online: Collection of literature on music in the electronic documents of the Frankfurt / Main University Library, accessed on December 12, 2018

About Felix Mendelssohn Bartholdy:

  • Interpretations of Mendelssohn's seven operas (Soldiers' Love, The Two Pedagogues, The Wandering Comedians, The Uncle from Boston, The Wedding of Camacho op.10, Homecoming from Strange, The Lorelei) . In: Felix Mendelssohn Bartholdy. Interpretations of his works, Laaber 2016.
  • Interpretation of the incidental music for the tragedy of Sophocles Oedipus on Colonus . In: Felix Mendelssohn Bartholdy. Interpretations of his works, Laaber 2016.
  • Interpretation of several sacred chants for mixed, male and female choir . In: Felix Mendelssohn Bartholdy. Interpretations of his works, Laaber 2016.
  • "I just don't compose a text that doesn't set me on fire". Mendelssohn as a prevented opera composer. In: CONCERTO. Early music magazine. Cologne 2017, issue 273, pp. 24–26 and issue 274, pp. 22–24. Online: Collection of literature on music in the electronic documents of the Frankfurt / Main University Library, accessed on December 12, 2018

To Gustav Jacobsthal:

  • The unraveled Middle Ages. Gustav Jacobsthal and his fate . In: Concerto No. 152, April 2000, pp. 16-22.
  • The individual expression with its force. A Beethoven review by Gustav Jacobsthal from 1889 . In: Die Musikforschung 55 (2002), pp. 373–385. Online: [6] , accessed February 25, 2020.
  • Realization of Humboldt's ideal of education. Gustav Jacobsthal - an almost forgotten founder of modern German musicology . In: Forum Humanwissenschaften, Frankfurter Rundschau, May 20, 2003, p. 11.
  • Gustav Jacobsthal as a critic of the modal theory avant la lettre. Archival studies . In: acta musicologica 75 (2003), pp. 137-172.
  • Gustav Jacobsthal's estate - a Zimelium in the music department of the Berlin State Library. A sighting . In: Forum Musikbibliothek 2007/1, pp. 17–27.
  • A first attempt to understand the historical instruments in Monterverdi's L'Orfeo : Gustav Jacobsthal, Strasbourg 1903 . In: CONCERTO. The magazine for early music, Cologne, issue 219, April / May 2008, pp. 24–27. Online: Collection of literature on music from the electronic documents of the Frankfurt / Main University Library, accessed on September 24, 2014 .
  • Jacobsthal's position in 19th century Mozart research . In: Mozart's World and Posterity, Mozart Handbook, Vol. 5, ed. v. Gernot Gruber and Claudia Maria Knispel, Laaber 2008, pp. 545–552.
  • "Magnifying glass and ear". The scientific culture established by Gustav Jacobsthal at the Strasbourg Institute from 1872 to 1905 and its hidden precursor role for historicizing performances of older music . In: Basler Jahrbuch für Historische Musikpraxis 32 (2008), Winterthur 2010, pp. 133–144.
  • Calculation and emotion - rationality and imagination in music analysis. Hermann Graßmann and the mathematics of Gustav Jacobsthal's musicology . In: Hermann Grassman - From Past to Future: Grassmann's Work in Context, Grassman Bicentennial Conference Potsdam / Szczecin September 2009, Basel 2010, pp. 391–400. In German: Calculating and Sensing - Rationality and Fantasy in Music Analysis. About some of Hermann Graßmann's mathematical elements in Gustav Jacobsthal's research methods . In: MusikTheorie 25 (2011), pp. 235–244.
  • From the bondage of the instruments. Eduard Grell and Gustav Jacobsthal . In: Yearbook of the State Institute for Music Research Berlin, PK, 2011, Mainz 2011, pp. 105–124.
  • Music as a university subject, technically and scientifically. Gustav Jacobsthal's conception of the subject of music in his memorandum of 1883 . In: Die Musikforschung 65 (2012), pp. 231–253. Together with Jacobsthal's memorandum and the reports by Heinrich Bellermann and Philipp Spitta also online: [7] , accessed on April 6, 2020.
  • "Teacher, helper and well-meaning friend". The working relationship and friendship between the Germanist Wilhelm Scherer and the musicologist Gustav Jacobsthal between 1872 and 1886 . In: History of German Studies. Communications Vol. 42/42, Göttingen 2012, pp. 87-101.
  • The power of the refrains in the Codex Montpellier. Hidden Franco-German lines of interpretation between Jacobsthal and Rokseth. With a letter from Heinrich Besseler from 1934 . In: Die Musikforschung 72 (2019), p. 38 52.

On music theory and the history of science:

  • “One of the most urgent and most rewarding tasks for musicology”. Hermann Kretzschmar as a pioneer of historical performance practice. Attempt to pay tribute to the 75th anniversary of death, at the same time a report on the 2nd Berlin Kretzschmar Syposium 1999 . In: Concerto No. 147, Sept. 1999, pp. 28-30.
  • Music - dawning mediator. On Heinrich Heine's memorable definition . In: Musik & Ästhetik 5 (2001), issue 18, April 2001, pp. 5–11.
  • Participate and resist. On the unsuccessful double strategy of Friedrich Gennrich in 1940 . In: Music Research Fascism National Socialism, ed. by I. v. Foerster, Chr. Hust, Chr.-H. Mahling, Mainz 2001, pp. 405-414.
  • Music and language in the theories of French enlighteners . In: Musik & Ästhetik 7 (2003), issue 28, October 2003, pp. 50–69. In Italian: Musica e linguaggio nelle teorie degli illuministi francesi , translated by Simona Montisci. In: Musica / Realtà 25 (2004), issue 73 (Marzo 2004), pp. 45–67.
  • Read, listen and play old music. On some of the remarks by Philipp Spitta, 110 years after his death . In: Concerto No. 196, Sept. 2004, p. 9f.
  • The reconstruction of the Spitta Collection . In: Yearbook of the State Institute for Music Research PK 2004, Mainz 2005, pp. 307–322.
  • Counterpoint childhood in music history - Adolf Bernhard Marx's historical-philosophical thesis of the necessary end of counterpoint according to Bach In: Music Concepts Special Volume “Philosophy of Counterpoint”, Munich 2010, pp. 48–59.
  • Hans Heinrich Eggebrecht and music in the Middle Ages. Three notes . In: Die Tonkunst 8 (2014). No. 2, April 2014, pp. 236-239.
  • Continuity Problems in German Musicology. A swan song . In: History of Music in Central and Eastern Europe. Announcements from the international working group at the University of Leipzig, issue 17, Gudrun Schröder Verlag, Leipzig 2016, pp. 133–155.
  • “The sphere of the world overcivilized in musicis has made itself deaf”. Eduard Grell's fight for unaccompanied singing . In: poetry, singing, composing. The Zeltersche Liedertafel as a cultural-historical phenomenon (1809–1945), Wehrhahn Verlag, Hannover 2017, pp. 105–120.

About individual musicians:

  • Poet's thirst for pain - musician's sound of pain. To “I hear the song sound” from Robert Schumann's Dichterliebe op. 48 (1840), song cycle from the book of songs by Heinrich Heine . In: "The last word of art". Heinrich Heine on the 200th birthday and Robert Schumann on the 150th anniversary of his death, Düsseldorf exhibition catalog, Stuttgart / Kassel 2006, pp. 183–191.
  • The broken thread. Schönberg as an object of historical performance practice. Considerations after a Berlin conference . In: Concerto, No. 225, April / May 2009, pp. 5f.
  • "That was me!". Life and work of Leo Blech. In: Jutta Lambrecht (Ed.): Leo Blech - Composer, Kapellmeister, General Music Director , Hentrich & Hentrich, Berlin 2015, ISBN 978-3-95565-091-9 (= Jewish miniatures . Volume 173), pp. 12-49.

On cultural criticism:

  • What can philosophy, art and religion do in the midst of nature, technology and capital? Empedocles - Holderlin - Marx . In: Musik & Ästhetik 14 (2010), Issue 55, pp. 51–73.
  • Silence in the midst of the musicians. On the current situation of concert life and music journalism . In: Concerto, No. 260, March / April 2015, pp. 28f.

Web links

Individual evidence

  1. ↑ Peter Sühring , info-netz-musik, accessed on September 15, 2014
  2. ↑ See table of contents in the archive of the magazine Concerto - Das Magazin für Alte Musik : Archiv , accessed on September 16, 2014
  3. ↑ http://www.ripm.org , accessed October 24, 2017
  4. ↑ Book Description
  5. ↑ Musikologist - Table of Contents , German National Library, accessed on September 17, 2014
  6. ↑ [1]
  7. ^ Transitions - Table of Contents , German National Library, accessed on September 17, 2014
  8. ↑ Also available online. , accessed October 24, 2017
personal data
SURNAME Sühring, Peter
BRIEF DESCRIPTION German musicologist
DATE OF BIRTH 1946
PLACE OF BIRTH Berlin