I.

Η ιστοσελίδα του φεστιβάλ του Darmstadt

https://internationales-musikinstitut.de/en/ferienkurse/

II. Λίγα λόγια για την Πόλη ως κέντρο τεχνών (από το Oxford Music Online):

Darmstadt
Ernst Thomas
, revised by Wilhelm Schlüter
https://doi.org/10.1093/gmo/9781561592630.article.07224
Published in print: 20 January 2001
Published online: 2001

City in Germany. From 1567 to 1918 it was the residence of the Landgraves of Hesse, and also,
from 1806, that of the Grand Dukes of Hessen-Darmstadt; from 1919 to 1945 it was the regional
capital, and has since been a centre of local government. Its musical and theatrical traditions date
from the 17th century, when Singballette, tournaments and masquerades were performed. The
Pädagogium, founded in 1629, had a boys' choir to provide sacred music. In 1670 a comedy
theatre was established; among works performed there were Das triumphierende Siegesspiel der
wahren Liebe (1673) by Wolfgang Carl Briegel, Hofkapellmeister from 1671 to 1712, and
Lully's Acis et Galatée (1687). Under Count Ernst Ludwig, himself a composer, court music
flourished, particularly opera. In 1712 the count appointed as Hofkapellmeister Christoph
Graupner, who composed hundreds of church cantatas, at least three operas and other works
for Darmstadt.
Under Grand Duke Ludwig I (1790–1830) the court opera reached its peak. The Hofkapelle,
often conducted by Ludwig himself, comprised 89 musicians, in addition to a chorus of 54, and
included many fine singers. Georg Joseph Vogler was Hofkapellmeister and director of a music
school, and Weber and Meyerbeer were among his pupils. J.C.H. Rinck was organist
between 1805 and 1846. In 1819 the Grossherzogliches Hoftheater was opened with a
performance of Spontini's Ferdinand Cortez. The theatre was burnt down in 1871, replaced
in 1879 and finally destroyed, together with many of Darmstadt's other musical institutions,
in 1944. Important Wagner productions, produced by Kapellmeister Louis Schindelmeisser in
collaboration with the scenic designer Carl Brandt (who had worked in Bayreuth), were mounted
after 1850. Subsequent conductors have included Willem de Haan, Weingartner, Michael
Balling, Böhm, Erich Kleiber, Szell, Hans Drewanz and Marc Albrecht. The last grand duke,
Ernst Ludwig (1892–1918), was sympathetic towards modern art, and a tradition of
contemporary opera production grew up, with such directors as Carl Ebert and Arthur Maria
Rabenalt working in Darmstadt.
Musical societies flourished in the 19th century, including the Musikverein (founded in 1832;
conducted by C.A. Mangold, 1839–89), the Mozartverein (1843), the Stadtkirchenchor (1874;
conducted by Arnold Mendelssohn, 1891–1912) and the Instrumentalverein (1883). The
Städtische Akademie für Tonkunst, founded in 1851, encouraged chamber music and orchestral
playing. Today the academy is divided into a music school for amateurs and a department
 offering professional training. The chair in musicology at the Technische Hochschule (renamed
the Technische Universität in 1997) has been held by Wilibald Nagel (1898–1913), Friedrich
Noack (1920–58) and Lothar Hoffmann-Erbrecht (1961–90). A new choir, the
Konzertchor Darmstadt, was founded in 1987 and a summer festival, Sommerspiele
Kranichstein, inaugurated in 1994.
After World War II a temporary theatre was established at the Orangeriehaus, enabling the
operatic tradition to be maintained, and in 1972 a new theatre, the Grosses Haus, was
opened. Darmstadt's operatic tradition has also been enriched by the city's associations with
contemporary music, particularly that of the avant garde. The Internationale Ferienkurse für
Neue Musik (‘Darmstadt summer courses’) were initiated in 1946 by Wolfgang Steinecke, who
continued to be closely associated with them until his death in 1961. His successors have been
Ernst Thomas (1962–81), Friedrich Hommel (1981–94) and Solf Schaefer (1995–). The courses,
held annually until 1970 and subsequently every two years, have encompassed both composition
and interpretation and include premières of new works. They have made Darmstadt a major
centre of modern music. Among the many distinguished lecturers to have appeared are Adorno,
Fortner, Alois Hába, Heiss, Krenek, Leibowitz, Messiaen, Varèse, Scherchen, Kolisch, Rehfuss,
Steuermann, Wildgans, Babbitt, Berio, Boulez, Cage, Christoph Caskel, Morton Feldman,
Gazzelloni, Henze, Lejaren Hiller, Aloys Kontarsky, Ligeti, Maderna, Nono, Palm, Pousseur,
Rihm, Stockhausen, David Tudor and Xenakis.
The Städtisches Fachinstitut für Neue Musik was founded by Steinecke in 1948 to provide an
institutional basis for the courses. It was known as the Kranichsteiner Musikinstitut from 1949 to
1962, and in 1963 became the Internationales Musikinstitut Darmstadt, an international
information centre for contemporary music, housing a library and various archives. In 1983 an
international jazz centre was founded as part of the institute; it became an independent
organization, the Jazzinstituts Darmstadt, in 1990, and houses a library and an extensive
collection of historic recordings and photographs of jazz musicians. The archives of the music
department of the Hessische Landes- und Hochschulbibliothek also contains important
documents, including the autograph manuscripts of 1450 cantatas by Graupner. The Institut für
Neue Musik und Musikerziehung, founded in Bayreuth in 1948 to encourage the inclusion of
contemporary music in German musical education, moved its base to Darmstadt in 1951. Since
then its annual spring conferences have made an important contribution to music teaching in
Germany.

Bibliography
 MGG2 (F. Noack)
 W. Nagel: Zur Geschichte der Musik am Hofe zu Darmstadt (Leipzig, 1900)
 K. Steinhäuser: Die Musik an den Hessen-Darmstädtischen Lateinschulen im 16.
und 17. Jahrhundert (Düsseldorf, 1936)
 H. Kaiser: Barocktheater in Darmstadt (Darmstadt, 1951)
 H. Kaiser: Modernes Theater in Darmstadt, 1910–1933 (Darmstadt, 1955)
 Darmstädter Beiträge zur Neuen Musik (Mainz, 1958–94) [DBNM]
 H. Kaiser: Das Grossherzogliche Hoftheater zu Darmstadt, 1810–
1910 (Darmstadt, 1964)
 E. Noack: Musikgeschichte Darmstadts vom Mittelalter bis zur
Goethezeit (Mainz, 1967)
 H. Unverricht and K. Oehl, eds.: Musik in Darmstadt zwischen den beiden
Weltkriegen (Mainz, 1980)
 E.G. Franz and C. Wagner: Darmstädter Kalendar: Daten zur Geschichte unserer
Stadt (Darmstadt, 1994)
 H. de la Motte-Haber and J. Gerlach, eds.: Vom Singen und Spielen zur Analyse
und Reflexion: eine Dokumentation anlässlich der 50. Arbeitstagung des Instituts für
Neue Musik und Musikerziehung (Darmstadt, 1996)
 R. Stephan and others, eds.: Von Kranichstein zur Gegenwart: 50 Jahre
Darmstädter Ferienkurse, 1946–1996 (Stuttgart, 1996)
 Darmstadt-Dokumente I, Musik-Konzepte (1998) [special issue]

III. Η ‘Σχολή ‘ του Darmstadt (εκπροσωποι κτλ) (πάλι από Oxford Music Online)

Darmstadt School
 Christopher Fox
 https://doi.org/10.1093/gmo/9781561592630.article.49725
 Published in print: 20 January 2001
 Published online: 2001

 A designation associated primarily with the serial music written in the 1950s by Nono, Maderna,
Stockhausen and Boulez and promoted by them in the 1950s at the Darmstadt summer courses.
The term was coined by Nono in his 1957 Darmstadt lecture, ‘Die Entwicklung der
Reihentechnik’ (the development of serial technique). The lecture presented analyses of the
serial practice in Schoenberg's Variations for Orchestra op.31 and Webern's Variations op.30,
before going on to a briefer consideration of new developments in recent works by Boulez (the
first movement of Structures I), Maderna (his 1955 string quartet), Stockhausen (Elektronische
Studie II and Zeitmasze) and Nono himself (Incontri).
Nono explicitly located the new serial techniques within the historical development of musical
modernism, claiming direct lineage from the Second Viennese School. He also drew parallels
between the work of the Darmstadt School and that of the Weimar and Dessau Bauhaus in the
1920s and 30s. In the work of the new generation of composers, Nono argued, the series no
longer has any thematic function; instead the series, together with its various permutations, had
become the basis for the entire composition, determining not only pitch but also tempo, duration,
register, dynamic and articulation.

Although the principal composers associated with the School were Nono, Maderna, Stockhausen
and Boulez, the compositional techniques of the Darmstadt School were widely adopted by other
composers anxious to be at the cutting edge of modernism. Darmstadt serialism may have grown
out of expressive necessity but, like any philosophy for which historical inevitability is invoked,
it soon hardened into dogmatic orthodoxy for its disciples. The activities of these zealots –
Franco Evangelisti called them the ‘dodecaphonic police’ – has led in latter years to the use of
‘Darmstadt’ as a pejorative term, implying a desiccated, slavishly rule-based music.

The adherence of the School’s founders to their collegial aesthetic ended with the 1950s. Nono
reacted with some hostility to the analysis of his Il canto sospeso in Stockhausen's 1958 essay
‘Musik und Sprache’; Stockhausen in turn was angered when Nono's 1959 Darmstadt lecture,
‘Presenza storica nella musica d’oggi’ indirectly attacked the work of John Cage. Aleatory,
electronic and ‘moment’ forms took the music of all four composers in new, divergent directions
and by 1961 the Darmstadt School had effectively dissolved, though Boulez, Stockhausen and
Maderna continued to be active at the summer courses.

Bibliography
 K. Stockhausen: ‘Musik und Sprache’, Die Reihe, 6 (1960), 36–58; Eng. trans.
in Die Reihe, vi (1964), 40–64
 J. Stenzl, ed.: Luigi Nono: Texte, Studien zu seiner Musik (Zürich, 1975)
 E. Restagno, ed.: Nono (Turin, 1987)
 R. Fearn: Bruno Maderna (London, 1990)
 A. Trudu: La ‘Scuola’ di Darmstadt (Milan, 1992)
 R. Stephan and others, eds.: Von Kranichstein zur Gegenwart (Stuttgart, 1996)
 C. Fox: ‘Luigi Nono and the Darmstadt School’, CMR, 18/2 (1999), 111–30