KARL AMADEUS HARTMANN – CENTER

On 25 July 2022 (beginning: 7.30 p.m.) Igor Levit will interpret Karl Amadeus Hartmann’s great piano sonata “27 April 1945” at the Salzburg Festival. Hartmann composed his work under the immediate impression of the death march of the prisoners from Dachau concentration camp on 27 April 1945 in Kempfenhausen, where Karl Amadeus Hartmann was hiding.

A cleverly composed programme entitled “In memoriam” will also feature Paul Dessau’s “Guernica – Piano Piece after Picasso”, Dmitri Shostakovich’s String Quartet No. 8 in C minor op. 110 – “In Memory of the Victims of Fascism and War” and Alfred Schnittke’s “Requiem for Solos, Choir and Chamber Ensemble”.

In addition to Igor Levit, the Hagen Quartet, the musicAeterna Choir and the Ensemble musicAeterna will perform under the direction of Gregor A. Mayrhofer.

https://www.salzburgerfestspiele.at/p/in-memoriam-levit-hagen-quartett-musicaeterna-mayrhofer

The Karl Amadeus Hartmann Society / Hartmann Center mourns the loss of its long-time president Udo Zimmermann. As composer and long-time artistic director of the concert series for new music musica viva, founded by Karl Amadeus Hartmann, he felt deeply connected to Hartmann’s artistic work. Zimmermann also conducted the world premiere of his posthumously published “Sinfonia tragica” in 1989 as part of musica viva and subsequently performed the work at the Salzburg Festival.

Zimmermann took a driving role in the founding of the Karl Amadeus Hartmann Society in 2004 and was elected by the members as its founding president. It is thanks in particular to his tireless commitment that the 2005 commemorative year for Hartmann’s 100th birthday was able to give new impetus to the reception of Hartmann’s works internationally through a large number of concerts and exhibitions.
Thank you Udo Zimmermann!

The Karl Amadeus Hartmann Society / Hartmann Center will always honor the memory of Udo Zimmermann.

Karl-Amadeus-Hartmann-Gesellschaft e.V.

Invitation to the Ordinary General Meeting 2016

On Thursday, November 10, 2016, at 6 PM on the premises of the Karl Amadeus Hartmann Society

Franz-Joseph-Str. 20, 80801 Munich

Agenda:

1. Begrüßung
2. Kurzer Bericht des Geschäftsführers zur Lage des Vereins
3. Bericht des Schatzmeisters über das laufende Geschäftsjahr 2016
4. Bericht des Rechnungsprüfers über das Geschäftsjahr 2015
5. Entlastung des Vorstands für das Geschäftsjahr 2015
6. Wahl des Rechnungsprüfers für 2016
7. Nötige Satzungsänderungen:
8. § 2 Titel
9. § 2 Ziff. 7: Neufassung, Regelung Ehrenamt/Hauptamtlicher Geschäftsführer wg. evtl.institutioneller Förderung
10. § 2 Ziff. 8: Neufassung, Ersatz Aufwendungen
11. § 2 Ziff. 9: Neu, Regelung Aufwandsentschädigung
12. § 7 Ziff. 1b: Zusatz, Hauptamtlicher Geschäftsführer wg. evtl. institutioneller
13. Förderung
14. § 7 Ziff. 1c: Kürzung des Zusatzes, da Neufassung § 7 Ziff. 2
15. § 7 Ziff. 2: Neufassung, Vertretungsregelung
16.  Aktuelles zum Antrag auf institutionelle Förderung/Hartmann-Zentrum
17. Ehrenmitglied 2017
18. Pläne, Ziele, Publikationsprojekte, „hartmann21“ – die Veranstaltungsreihe, neue Website etc.
19. Sonstiges (z.B. auch Anliegen, Vorschläge der Mitglieder, offene Diskussion)

The International Karl Amadeus Hartmann Society mourns the death of its founding member Pierre Boulez. With Pierre Boulez, the music world has lost not only a conductor and composer with a voice all of his own, but also one of its most important and in many ways formative personalities.

How close he felt to Karl Amadeus Hartmann became clear during his last appearance at musica viva on September 30, 2011 at Munich’s Prinzregententheater, which featured a magnificent performance of Boulez “Pli selon pli”. He never tired of referring in interviews and personal conversations to his beginnings as a composer and conductor and his first musica viva concerts, emphasizing Hartmann’s formative role. Thinking of Karl Amadeus Hartmann and Munich always warmed his heart. The impulses Boulez received from Hartmann and the idea of a platform for the freedom of thought, the freedom of art and for the social responsibility of art, which took shape in musica viva, were manifold.

In his usual modest but sustainable way of “acting” in the background and quietly pulling strings, Hartmann implemented an idea in 1960 and recommended Pierre Boulez for Bayreuth. Interestingly enough, this was combined with a very concrete recommendation for the work, which was finally followed in exactly the same way in 1966. In a letter to Wieland Wagner dated June 10, 1960 Karl Amadeus Hartmann wrote:

“I would like to draw your attention very briefly to a real artist who will certainly be considered for the Bayreuth Festival one day. It is Pierre Boulez, who is an outstanding composer, music writer and conductor, probably unique in his universality. I could imagine that he would be particularly suitable for ‘Parsifal’. This is just a little advice from my side.”

Parsifal was to become his first work in Bayreuth, the Jahrhundertring 1976 (directed by Patrice Chéreau) his masterpiece, with which he set a milestone in the history of interpretation.

Thus on September 30, 2011 in the musica viva a first circle closed, which is now completed on January 5, 2016.

(AHB)

Further links:

Pierre Boulez – Nachruf von Alexander Kluge (Spiegel online)

Zum Tode von Pierre Boulez – von Reinhard Brembeck (SZ)

Vom Sprengmeister zur Galionsfigur: Zum Tod des Komponisten Pierre Boulez – von Gerhard R. Koch (FAZ)

Reaktionen auf den Tod von Pierre Boulez (Die Welt online)

Sprengmeister der Moderne – von Frederick Hanssen (Tagesspiegel)

Zum Tod von Pierre Boulez – Lucerne Festival Academy, Videos (NMZ)

On January 7, a seminar of the Musicological Institute of the Ludwig-Maximilians-Universität took place in the rooms of the Karl-Amadeus-Hartmann-Gesellschaft at 2 PM –

it was dedicated to the topic “Institutions and Festivals of New Music”. The second part of the seminar dealt with Karl Amadeus Hartmann and musica viva. Prof. Dr. Wolfgang Rathert as well as Andreas Hérm Baumgartner, the director of the Karl Amadeus Hartmann Society, described to the twelve students of musicology the early days and the basic ideas of the musica viva concert series founded by Hartmann, which still exists today and is dedicated to contemporary music. They ranged from the 1920s, more precisely from the concert series “Die Juryfreien” founded by Hartmann (per se his first field of experimentation, in which he also included literature and the fine arts), through Hartmann’s compositional work and his attitude during the years of National Socialism, to his early death in 1963.

Karl Amadeus Hartmann – with his attitude of refusing to be appropriated by the Nazis and his all the more active role abroad – sought in each of his works international solidarity with allies in spirit and put a concrete message ot it. Be it through the use of forbidden texts and melodies or with the help of Jewish songs. Especially the use of the Jewish song “Elijahu hanavi” in all compositions written between 1933 and 1945 became Hartmann’s lament for the extermination of the Jewish people and the persecution of all opponents of the regime. Andreas Hérm Baumgartner used historical events – such as the Seizure of control, the enactment of the Nuremberg Laws, the November Pogroms and the beginning of the war – for illustration and showed Hartmann’s compositional reaction in musical examples.