{"id":13603,"date":"2024-02-18T14:42:13","date_gmt":"2024-02-18T13:42:13","guid":{"rendered":"https:\/\/emag.baerenreiter.com\/the-founding-of-baerenreiter\/"},"modified":"2024-11-20T14:07:56","modified_gmt":"2024-11-20T13:07:56","slug":"the-founding-of-baerenreiter","status":"publish","type":"page","link":"https:\/\/emag.baerenreiter.com\/en\/the-history\/the-founding-of-baerenreiter\/","title":{"rendered":"The Founding of B\u00e4renreiter"},"content":{"rendered":"

\u201cWithout Walther Hensel, I would not have become a Publisher\u201d<\/span><\/h1>

The Founding of B\u00e4renreiter<\/span><\/h2><\/div><\/div><\/div><\/div><\/div>
\r\n\t\t\t

When Karl V\u00f6tterle took his first steps into the world of publishing in September 1923 with the first issue of the Finkensteiner Bl\u00e4tter, an eight-page booklet of folk songs, one thing was certainly not on his agenda: to claim a place alongside the long-established \u00adpublishers of Leipzig and Mainz by founding a world-class music publishing house. The circumstances alone spoke against such ventures: the First World War had brought Germany to its knees; eye-watering reparation payments and hyperinflation were placing an unprecedented burden on the country; Germany\u2019s young democracy was under attack from both the right and the left; politics and society were teetering on the brink of the abyss. Taking a major economic gamble in such a situation would have been utterly foolhardy.<\/p>\n\r\n\t\t<\/div>\r\n\t<\/div><\/div><\/div>

\r\n\t\t\t

But Karl V\u00f6tterle was concerned with something else in any case: the founding of his publishing house was motivated by the insight that \u201cwe all share equally in the hardships of our time and desire to do equally constructive work\u201d, as he wrote in 1924, looking back on his first year of publishing.[1] There was a need both to overcome the trauma of the Great War and the humiliation associated with it as well as to confront bourgeois musical culture, which was seen as decadent, split between sensationalist entertainment and intellectual appropriation \u2013 ultimately, there was a need to find the \u201csource\u201d of the \u201crenewal of trust in ourselves\u201d.[2]<\/p>\n\r\n\t\t<\/div>\r\n\t<\/div><\/div><\/div><\/div><\/div><\/div><\/div><\/div><\/div><\/div><\/div>

Meeting Walther Hense<\/span><\/h2><\/div><\/div><\/div><\/div><\/div>
\r\n\t\t\t

The \u201cwe\u201d V\u00f6tterle refers to were the followers of the Singbewegung (singing movement) around the charismatic Sudeten German folk song collector and singer Walther Hensel. V\u00f6tterle had organized two song recitals for Hensel in Augsburg in the spring of 1923 and had immediately fallen under the spell of his voice.<\/p>\n\r\n\t\t<\/div>\r\n\t

<\/div>
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Making music in Finkenstein. Walther Hensel with guitar, behind him on the right Karl V\u00f6tterle<\/p>\n\r\n\t\t<\/div>\r\n\t<\/div><\/div><\/div>

\r\n\t\t\t

\u201cWe\u201d also included the participants of the first singing week led by Hensel in Finkenstein near M\u00e4hrisch Tr\u00fcbau (today\u2019s Moravsk\u00e1 Tr\u02c7ebov\u00e1) in Czechoslovakia in July 1923, of whom Karl V\u00f6tterle was one. Like Hans Klein, they looked back on this time spent in \u201choly tranquillity far from the world\u201d as an experience of awakening: \u201cIn Finkenstein, music revealed itself to us as a life force that is able to overcome all pettiness, to unleash completely new forces in man, to raise him above himself. And we will never cease to proclaim this experience of music\u2026\u201d [3] Klein\u2019s memoir Die Finkensteiner Singwoche<\/em> (\u201cThe Singing Week at Finkenstein\u201d) was one of the first publications of the fledgling B\u00e4renreiter publishing house, which set out to provide institutional structures for this \u201cproclamation\u201d.<\/p>\n\r\n\t\t<\/div>\r\n\t

<\/div>
\r\n\t\t\t

Unlike Hensel, Karl V\u00f6tterle possessed both drive and a talent for organization and, as a bookseller\u2019s assistant and not least as the son of a bricklayer, was skilled at getting things done and turning ideas into reality. Even before the singing week, a lack of good songbooks had led him to copy out individual songs for his small Augsburg workers\u2019 choir, hectograph them in his parents\u2019 living room and, since he could imagine what the \u201csheets would look like after a fortnight in the hands of a locksmith\u2019s apprentice\u201d,4 punch them and tie them together in a homemade folder with a piece of cord. The anthology soon attracted the interest of befriended youth groups,
\nand V\u00f6tterle had a bold idea: could the song sheets perhaps be printed? However, his ambitions went beyond simply reprinting something that had already been published. His aim was to publish a new song magazine, with Walther Hensel as its editor.<\/p>\n\r\n\t\t<\/div>\r\n\t<\/div><\/div><\/div><\/div><\/div><\/div><\/div><\/div><\/div><\/div><\/div>

The idea for a publishing house<\/span><\/h2><\/div><\/div><\/div><\/div><\/div>
\r\n\t\t\t

The singing week provided V\u00f6tterle with fresh impetus and inspiration. In Finkenstein, he came to see that for Hensel, \u201cboth because of his origins in the borderlands and because of his deepest, most personal convictions, music was not a prime concern\u201d; it was (merely) the \u201cmain awakener of the forces slumbering within us\u201d,[5] which Hensel considered necessary to strengthen one\u2019s cultural identity in an all-encompassing manner. Accordingly, the publishing house that V\u00f6tterle envisaged would need to do more than just print folk songs. The singing week also provided the start-up funding for V\u00f6tterle\u2019s venture, as participants ordered and paid for their songbook copies in advance. On top of this, V\u00f6tterle had the presence of mind not to exchange his Czech crowns back into German currency, which protected a large proportion of the fifty thousand Reichsmark he had been given by his father from the galloping devaluation of money.<\/p>\n\r\n\t\t<\/div>\r\n\t

<\/div>
\r\n\t\t\t

And an important decision was made: when V\u00f6tterle and his newfound friend Walther Sturm were resting on the roof of a parked railway carriage on their journey home, looking up at the starry sky, V\u00f6tterle told Sturm about the signi-ficance that the little star Alkor in the Great Bear constellation had held for him since his time as a member of the Wandervogel movement: \u201cWhen dusk has fallen and the stars become visible, then the eyes of those dear to one another search for the little rider and the friends remember each other.\u201d[6] It was this night that the publishing house was given its name: B\u00e4renreiter (bear rider).<\/p>\n\r\n\t\t<\/div>\r\n\t

<\/div><\/div><\/div><\/div>
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\"\"<\/div><\/div>\t<\/div>\r\n\t<\/div>\r\n<\/div>\r\n
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Karl V\u00f6tterle and Walther Sturm, Illustration by Jessica Ronja Pelz<\/p>\n\r\n\t\t<\/div>\r\n\t

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The first publication<\/span><\/h2><\/div><\/div><\/div>
<\/div><\/div><\/div><\/div><\/div>
<\/div><\/div><\/div>
\r\n\t\t\t

Once back home, things moved quickly: Walther Hensel had compiled the songs for the first issue of the Finkensteiner Bl\u00e4tter, the Augsburg printing company M\u00fchlberger, which V\u00f6tterle knew had experience with sheet music, provided the typesetting and printing, and on 1 September the very first work by B\u00e4renreiter was published. In terms of its layout, it continued to follow the concept V\u00f6tterle had developed for his privately produced song sheets.<\/p>\n\r\n\t\t<\/div>\r\n\t

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The first publication \u201cAuf , du junger Wandersmann!\u201d, in: Finkensteiner Bl\u00e4tter<\/em> issue 1, 1923<\/p>\n\r\n\t\t<\/div>\r\n\t

<\/div>
\r\n\t\t\t

Further issues followed on a monthly basis, supplemented by poetry, fairy tales, and other ideological and religious texts, some of which \u2013 particularly from today\u2019s perspective \u2013 are suspiciously German National in tone. B\u00e4renreiter\u2019s catalogue expanded to include a series of vocal music, Musikalisch Hausg\u00e4rtlein, and the magazine Die Singgemeinde. When Karl V\u00f6tterle came of age on 12 April 1924, he had his publishing house listed with the Publishers and Booksellers Association in Leipzig and registered it as a business in Augsburg. The first steps had been successfully taken.<\/p>\n

Gudula Sch\u00fctz<\/em><\/p>\n\r\n\t\t<\/div>\r\n\t

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Entry in the trade register of 25 April 1924; Stadtarchiv Augsburg, GK 1, V\u00f6tterle Karl<\/p>\n\r\n\t\t<\/div>\r\n\t

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\"\"<\/div><\/div>\t<\/div>\r\n\t<\/div>\r\n<\/div>\r\n
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\r\n\t\t\t

The B\u00e4renreiter Yearbook 1924<\/p>\n\r\n\t\t<\/div>\r\n\t

<\/div>
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<\/div><\/div><\/div><\/div><\/div><\/div><\/div><\/div><\/div><\/div><\/div>
<\/div><\/div><\/div>
\r\n\t\t\t

Title quote taken from: Karl V\u00f6tterle, Haus
\nunterm Stern, Kassel 41969, p. 93.
\n[1] Karl V\u00f6tterle, Das erste Jahr B\u00e4renreiter-Verlag, Augsburg [1924], p. [3].
\n[2] Karl V\u00f6tterle, Zur Darstellung der Gr\u00fcnderzeit, typescript dated 27 May 1971, p. 1 (V\u00f6tterle estate).
\n[3] Hans Klein, Die Finkensteiner Singwoche, Augsburg 1924, p. 5.
\n[4] Karl V\u00f6tterle, Haus unterm Stern, Kassel 41969, p. 50.
\n[5] Karl V\u00f6tterle, F\u00fcnfzig Jahre Finkensteiner Singwoche, typescript dated March 1974, p. 5 (V\u00f6tterle estate).
\n[6] As in note 1.<\/p>\n\r\n\t\t<\/div>\r\n\t<\/div><\/div><\/div>

<\/div><\/div><\/div><\/div><\/div><\/div><\/div><\/div><\/div><\/div><\/div>\n"},"excerpt":{"rendered":"

\u201cWithout Walther Hensel, I would not have become a Publisher\u201d<\/span><\/h1>

The Founding of B\u00e4renreiter<\/span><\/h2><\/div><\/div><\/div><\/div><\/div>
\r\n\t\t\t

When Karl V\u00f6tterle took his first steps into the world of publishing in September 1923 with the first issue of the Finkensteiner Bl\u00e4tter, an eight-page booklet of folk songs, one thing was certainly not on his agenda: to claim a place alongside the long-established \u00adpublishers of Leipzig and Mainz by founding a world-class music publishing house. The circumstances alone spoke against such ventures: the First World War had brought Germany to its knees; eye-watering reparation payments and hyperinflation were placing an unprecedented burden on the country; Germany\u2019s young democracy was under attack from both the right and the left; politics and society were teetering on the brink of the abyss. Taking a major economic gamble in such a situation would have been utterly foolhardy.<\/p>\n\r\n\t\t<\/div>\r\n\t<\/div><\/div><\/div>

\r\n\t\t\t

But Karl V\u00f6tterle was concerned with something else in any case: the founding of his publishing house was motivated by the insight that \u201cwe all share equally in the hardships of our time and desire to do equally constructive work\u201d, as he wrote in 1924, looking back on his first year of publishing.[1] There was a need both to overcome the trauma of the Great War and the humiliation associated with it as well as to confront bourgeois musical culture, which was seen as decadent, split between sensationalist entertainment and intellectual appropriation \u2013 ultimately, there was a need to find the \u201csource\u201d of the \u201crenewal of trust in ourselves\u201d.[2]<\/p>\n\r\n\t\t<\/div>\r\n\t<\/div><\/div><\/div><\/div><\/div><\/div><\/div><\/div><\/div><\/div><\/div>

Meeting Walther Hense<\/span><\/h2><\/div><\/div><\/div><\/div><\/div>
\r\n\t\t\t

The \u201cwe\u201d V\u00f6tterle refers to were the followers of the Singbewegung (singing movement) around the charismatic Sudeten German folk song collector and singer Walther Hensel. V\u00f6tterle had organized two song recitals for Hensel in Augsburg in the spring of 1923 and had immediately fallen under the spell of his voice.<\/p>\n\r\n\t\t<\/div>\r\n\t

<\/div>
\r\n\t
\r\n\t\t\r\n\r\n
\r\n\t\t
\"\"<\/div><\/div>\t<\/div>\r\n\t<\/div>\r\n<\/div>\r\n
<\/div>
\r\n\t\t\t

Making music in Finkenstein. Walther Hensel with guitar, behind him on the right Karl V\u00f6tterle<\/p>\n\r\n\t\t<\/div>\r\n\t<\/div><\/div><\/div>

\r\n\t\t\t

\u201cWe\u201d also included the participants of the first singing week led by Hensel in Finkenstein near M\u00e4hrisch Tr\u00fcbau (today\u2019s Moravsk\u00e1 Tr\u02c7ebov\u00e1) in Czechoslovakia in July 1923, of whom Karl V\u00f6tterle was one. Like Hans Klein, they looked back on this time spent in \u201choly tranquillity far from the world\u201d as an experience of awakening: \u201cIn Finkenstein, music revealed itself to us as a life force that is able to overcome all pettiness, to unleash completely new forces in man, to raise him above himself. And we will never cease to proclaim this experience of music\u2026\u201d [3] Klein\u2019s memoir Die Finkensteiner Singwoche<\/em> (\u201cThe Singing Week at Finkenstein\u201d) was one of the first publications of the fledgling B\u00e4renreiter publishing house, which set out to provide institutional structures for this \u201cproclamation\u201d.<\/p>\n\r\n\t\t<\/div>\r\n\t

<\/div>
\r\n\t\t\t

Unlike Hensel, Karl V\u00f6tterle possessed both drive and a talent for organization and, as a bookseller\u2019s assistant and not least as the son of a bricklayer, was skilled at getting things done and turning ideas into reality. Even before the singing week, a lack of good songbooks had led him to copy out individual songs for his small Augsburg workers\u2019 choir, hectograph them in his parents\u2019 living room and, since he could imagine what the \u201csheets would look like after a fortnight in the hands of a locksmith\u2019s apprentice\u201d,4 punch them and tie them together in a homemade folder with a piece of cord. The anthology soon attracted the interest of befriended youth groups,
\nand V\u00f6tterle had a bold idea: could the song sheets perhaps be printed? However, his ambitions went beyond simply reprinting something that had already been published. His aim was to publish a new song magazine, with Walther Hensel as its editor.<\/p>\n\r\n\t\t<\/div>\r\n\t<\/div><\/div><\/div><\/div><\/div><\/div><\/div><\/div><\/div><\/div><\/div>

The idea for a publishing house<\/span><\/h2><\/div><\/div><\/div><\/div><\/div>
\r\n\t\t\t

The singing week provided V\u00f6tterle with fresh impetus and inspiration. In Finkenstein, he came to see that for Hensel, \u201cboth because of his origins in the borderlands and because of his deepest, most personal convictions, music was not a prime concern\u201d; it was (merely) the \u201cmain awakener of the forces slumbering within us\u201d,[5] which Hensel considered necessary to strengthen one\u2019s cultural identity in an all-encompassing manner. Accordingly, the publishing house that V\u00f6tterle envisaged would need to do more than just print folk songs. The singing week also provided the start-up funding for V\u00f6tterle\u2019s venture, as participants ordered and paid for their songbook copies in advance. On top of this, V\u00f6tterle had the presence of mind not to exchange his Czech crowns back into German currency, which protected a large proportion of the fifty thousand Reichsmark he had been given by his father from the galloping devaluation of money.<\/p>\n\r\n\t\t<\/div>\r\n\t

<\/div>
\r\n\t\t\t

And an important decision was made: when V\u00f6tterle and his newfound friend Walther Sturm were resting on the roof of a parked railway carriage on their journey home, looking up at the starry sky, V\u00f6tterle told Sturm about the signi-ficance that the little star Alkor in the Great Bear constellation had held for him since his time as a member of the Wandervogel movement: \u201cWhen dusk has fallen and the stars become visible, then the eyes of those dear to one another search for the little rider and the friends remember each other.\u201d[6] It was this night that the publishing house was given its name: B\u00e4renreiter (bear rider).<\/p>\n\r\n\t\t<\/div>\r\n\t

<\/div><\/div><\/div><\/div>
\r\n\t
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\r\n\t\t
\"\"<\/div><\/div>\t<\/div>\r\n\t<\/div>\r\n<\/div>\r\n
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\r\n\t\t\t

Karl V\u00f6tterle and Walther Sturm, Illustration by Jessica Ronja Pelz<\/p>\n\r\n\t\t<\/div>\r\n\t

<\/div>
\r\n\t\t\t\r\n\t\t<\/div>\r\n\t<\/div><\/div><\/div><\/div><\/div><\/div><\/div><\/div><\/div><\/div><\/div>
<\/div><\/div><\/div>

The first publication<\/span><\/h2><\/div><\/div><\/div>
<\/div><\/div><\/div><\/div><\/div>
<\/div><\/div><\/div>
\r\n\t\t\t

Once back home, things moved quickly: Walther Hensel had compiled the songs for the first issue of the Finkensteiner Bl\u00e4tter, the Augsburg printing company M\u00fchlberger, which V\u00f6tterle knew had experience with sheet music, provided the typesetting and printing, and on 1 September the very first work by B\u00e4renreiter was published. In terms of its layout, it continued to follow the concept V\u00f6tterle had developed for his privately produced song sheets.<\/p>\n\r\n\t\t<\/div>\r\n\t

<\/div>
\r\n\t
\r\n\t\t\r\n\r\n
\r\n\t\t
\"\"<\/div><\/div>\t<\/div>\r\n\t<\/div>\r\n<\/div>\r\n
<\/div>
\r\n\t\t\t

The first publication \u201cAuf , du junger Wandersmann!\u201d, in: Finkensteiner Bl\u00e4tter<\/em> issue 1, 1923<\/p>\n\r\n\t\t<\/div>\r\n\t

<\/div>
\r\n\t\t\t

Further issues followed on a monthly basis, supplemented by poetry, fairy tales, and other ideological and religious texts, some of which \u2013 particularly from today\u2019s perspective \u2013 are suspiciously German National in tone. B\u00e4renreiter\u2019s catalogue expanded to include a series of vocal music, Musikalisch Hausg\u00e4rtlein, and the magazine Die Singgemeinde. When Karl V\u00f6tterle came of age on 12 April 1924, he had his publishing house listed with the Publishers and Booksellers Association in Leipzig and registered it as a business in Augsburg. The first steps had been successfully taken.<\/p>\n

Gudula Sch\u00fctz<\/em><\/p>\n\r\n\t\t<\/div>\r\n\t

<\/div>
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\r\n\t\t\r\n\r\n
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\"\"<\/div><\/div>\t<\/div>\r\n\t<\/div>\r\n<\/div>\r\n<\/div><\/div><\/div>
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\r\n\t\t\t

Entry in the trade register of 25 April 1924; Stadtarchiv Augsburg, GK 1, V\u00f6tterle Karl<\/p>\n\r\n\t\t<\/div>\r\n\t

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\r\n\t\t\t

The B\u00e4renreiter Yearbook 1924<\/p>\n\r\n\t\t<\/div>\r\n\t

<\/div>
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\r\n\t\t\t

Title quote taken from: Karl V\u00f6tterle, Haus
\nunterm Stern, Kassel 41969, p. 93.
\n[1] Karl V\u00f6tterle, Das erste Jahr B\u00e4renreiter-Verlag, Augsburg [1924], p. [3].
\n[2] Karl V\u00f6tterle, Zur Darstellung der Gr\u00fcnderzeit, typescript dated 27 May 1971, p. 1 (V\u00f6tterle estate).
\n[3] Hans Klein, Die Finkensteiner Singwoche, Augsburg 1924, p. 5.
\n[4] Karl V\u00f6tterle, Haus unterm Stern, Kassel 41969, p. 50.
\n[5] Karl V\u00f6tterle, F\u00fcnfzig Jahre Finkensteiner Singwoche, typescript dated March 1974, p. 5 (V\u00f6tterle estate).
\n[6] As in note 1.<\/p>\n\r\n\t\t<\/div>\r\n\t<\/div><\/div><\/div>

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