{"id":13609,"date":"2024-02-19T08:04:12","date_gmt":"2024-02-19T07:04:12","guid":{"rendered":"https:\/\/emag.baerenreiter.com\/the-early-years\/"},"modified":"2024-11-20T14:07:56","modified_gmt":"2024-11-20T13:07:56","slug":"the-early-years","status":"publish","type":"page","link":"https:\/\/emag.baerenreiter.com\/en\/the-history\/the-early-years\/","title":{"rendered":"The Early Years"},"content":{"rendered":"

From Augsburg to Kassel, from Folk Song to Sch\u00fctz<\/span><\/h1>

The Early Years<\/span><\/h2><\/div><\/div><\/div><\/div><\/div>
<\/div><\/div><\/div>
\r\n\t\t\t

22 March 1926 was a date of far-reaching significance for the young publishing house, which had already moved into its own premises in 1925: Richard Baum, who had just received his doctorate from the University of Munich, joined Gertraud Hahn, who had been Karl V\u00f6tterle\u2019s right hand since 1924, as an editor \u2013 little did he know that he would stay at B\u00e4renreiter for more than fifty years!<\/p>\n\r\n\t\t<\/div>\r\n\t<\/div><\/div><\/div>

\r\n\t\t\t

V\u00f6tterle later joked that this was the meeting of a musicologist with no idea of publishing and a young publisher with no idea of musicology,[1] and at first it did indeed seem like the collision of two different worlds: Baum was relieved when, on his first day at work, his boss \u201ccame to meet him wearing long trousers and a tie, rather than his hiking gear, customary for those in the Wandervogel movement\u201d.[2]<\/p>\n\r\n\t\t<\/div>\r\n\t<\/div><\/div><\/div>

<\/div><\/div><\/div><\/div><\/div><\/div><\/div><\/div><\/div><\/div><\/div>
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The publisher in Augsburg. In the foreground Gertraud Hahn, in the back Karl V\u00f6tterle and Richard<\/p>\n\r\n\t\t<\/div>\r\n\t<\/div><\/div><\/div><\/div><\/div><\/div><\/div><\/div><\/div><\/div><\/div>

The \u201cSingbewegung\u201d (singing movement) and musicology<\/span><\/h2><\/div><\/div><\/div><\/div><\/div>
\r\n\t\t\t

However, the two fields were not actually as alien as it might seem: as early as 1923, V\u00f6tterle had been able to get Hans-\u00adJoachim Moser, a young professor from Halle, to be a judge at a singing convention in F\u00fcrstenfeldbruck, and he had met Konrad Ameln, who was studying with Joseph M\u00fcller-Blattau in K\u00f6nigsberg (today\u2019s Kaliningrad), at a singing week. The 1925 catalogue already reflects this \u201coverlap\u201d. The Locheimer Liederbuch<\/em> edited by Ameln and M\u00fcller-Blattau\u2019s edition of Forkel\u2019s Bach biography were two weighty new publications.<\/p>\n\r\n\t\t<\/div>\r\n\t

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

Besides these \u2013 in addition to Walther Hensel\u2019s folk songbooks, which were published monthly, and numerous theological writings \u2013 the catalogue contained performing editions of selected works by Johann Sebastian Bach, John Dowland, Hans Leo Ha\u00dfler, and Leonhard Lechner, which had been produced by experienced musicians such as the lute specialist Heinz Bischoff and the music educator Walther Pudelko. The field had thus already been tilled, and Richard Baum\u2019s work could begin.<\/p>\n\r\n\t\t<\/div>\r\n\t<\/div><\/div><\/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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Leonhard Lechner, Das Leiden unsers Herren Jesu Christi, edited by Konrad Ameln, cover design by Hermann Wilhelm<\/p>\n\r\n\t\t<\/div>\r\n\t<\/div><\/div><\/div><\/div><\/div><\/div><\/div><\/div><\/div><\/div><\/div>

<\/div><\/div><\/div>

New to the catalogue: church music<\/span><\/h2><\/div><\/div><\/div>
<\/div><\/div><\/div><\/div><\/div>
<\/div><\/div><\/div>
\r\n\t\t\t

In the early years, B\u00e4renreiter\u2019s catalogue primarily contained vocal music by old masters, but after 1926, more and more instrumental works were added. This did not clash with the premises of the Singbewegung, but was essentially a consistent development: chorales and sacred songs had already been performed in Finkenstein, and chamber music had been an integral part of the evening entertainment there. A further dynamic was set in motion by the 1927 Freiburg Organ Conference, which provided the initial impetus for church music and the German organ movement in much the same way that Finkenstein had for the Singbewegung. Karl V\u00f6tterle \u2013 who was an active member of the Berneuchen Circle, which advocated a sacramental renewal of the church and thus pursued ideas similar to those of the Singbewegung in the field of music \u2013 published the conference proceedings; new editors such as Hermann Keller and Karl Matthaei brought out standard-setting editions of organ music, some of which are still in B\u00e4renreiter\u2019s catalogue today.<\/p>\n\r\n\t\t<\/div>\r\n\t

<\/div>
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\"\"<\/div><\/div>\t<\/div>\r\n\t<\/div>\r\n<\/div>\r\n
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A theological confession: the journal Musik und Kirche<\/em><\/p>\n\r\n\t\t<\/div>\r\n\t

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

The title of the journal Musik und Kirche, which first appeared in 1929 and was edited by Christhard Mahrenholz, showed where the company was heading: B\u00e4renreiter was increasingly establishing a profile as a music publisher with a decidedly theological bent \u2013 a development that placed the company\u2019s very existence at risk during the National Socialist era, but received public recognition in 1953, when Karl V\u00f6tterle was awarded honorary doctorates in musicology (University of Kiel) and Protestant theology (University of Leipzig).<\/p>\n\r\n\t\t<\/div>\r\n\t<\/div><\/div><\/div>

<\/div><\/div><\/div><\/div><\/div><\/div><\/div><\/div><\/div><\/div><\/div>
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\"\"<\/div><\/div>\t<\/div>\r\n\t<\/div>\r\n<\/div>\r\n
<\/div>
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Heinrich Sch\u00fctz, Geistliche Chormusik<\/em> 1648, issue 1<\/p>\n\r\n\t\t<\/div>\r\n\t<\/div><\/div><\/div>

Welcoming Sch\u00fctz to the catalogue<\/span><\/h2>
\r\n\t\t\t

In the late 1920s, B\u00e4renreiter\u2019s early music editions started to attract the attention of musicologists. Alfred Einstein, who saw the publisher\u2019s catalogue as evoking \u201ca kind of new musical Nazarenism\u201d, gave it his vote of confidence: \u201cMusic research is watching this endeavour with silent pleasure, and \u2013 whatever may arise from these beginnings and doings \u2013: the objective knowledge of the past will profit from it.\u201d[3] One name in particular came into focus more and more: Heinrich Sch\u00fctz. The Historia der Auferstehung Jesu Christi, the Musikalische Exequien and the first volumes of the Geistliche Chormusik 1648 were among B\u00e4renreiter\u2019s first new editions (as was Einstein\u2019s biography), published from 1929 onwards. In 1930, V\u00f6tterle became one of the founders of the Neue Sch\u00fctz-Gesellschaft, at whose music festivals the composer\u2019s works were performed and which, after the War, commissioned B\u00e4renreiter to produce a new Complete Edition of Sch\u00fctz.<\/p>\n\r\n\t\t<\/div>\r\n\t

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

Fifty years after joining the publishing house, Richard Baum admitted that in retrospect, this concentration on the old masters was surprising and also raised some doubts: \u201cI have often asked myself whether I was partly to blame for the fact that, at the time Schoenberg was writing his \u2018Moses and Aaron\u2019, Stravinsky his \u2018Symphony of Psalms\u2019, and Alban Berg his Violin Concerto, we passed this chapter of European music by and, in grand one-sidedness, published old masters. But I console myself that in this way a very important chapter in the history of European music was opened up, a chapter that subsequently and to this day has helped countless people to both broaden and deepen their music-making.\u201d[4]<\/p>\n\r\n\t\t<\/div>\r\n\t<\/div><\/div><\/div><\/div><\/div><\/div><\/div><\/div><\/div><\/div><\/div>

Move to Kassel and marriage<\/span><\/h2>
\r\n\t\t\t

Finally, an important event: in 1927, Karl V\u00f6tterle met Maria Zei\u00df, who came from Kassel, at a singing week. It was Maria\u2019s father who lured the publisher to northern Hesse when V\u00f6tterle decided to expand his premises and was unable to find the right conditions for doing so in Augsburg. Thanks to a plot of land on the Wilhelmsh\u00f6he and a loan brokered without the usual red tape by Lord Mayor Herbert Stadler, several goods wagons laden with B\u00e4renreiter stock already rolled north that very summer. Six of fourteen employees moved to Kassel along with V\u00f6tterle; new staff joined. On 10 September 1927, the young couple were married in Kassel\u2019s Martinskirche by Hermann Schafft, and Karl V\u00f6tterle had found something he had long desired: a city that was not just a place of work, but also offered the opportunity to become involved in and influence its cultural life. \u201cThese were years of awakening and reflection, exhilarating years in which we \u2013 surrendered to the new vista opening up before us \u2013 stood apart from political life and failed to see what was coming.\u201d[5]<\/p>\n

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

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Karl V\u00f6tterle and his wife Maria, n\u00e9e. Zei\u00df<\/p>\n\r\n\t\t<\/div>\r\n\t<\/div><\/div><\/div>

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Announcement of the relocation in Finkensteiner Bl\u00e4tter 5th year, issue \u00bd<\/p>\n\r\n\t\t<\/div>\r\n\t<\/div><\/div><\/div>

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\"\"<\/div><\/div>\t<\/div>\r\n\t<\/div>\r\n<\/div>\r\n
<\/div>
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The publishing house in Kassel-Wilhelmsh\u00f6he before the War<\/p>\n\r\n\t\t<\/div>\r\n\t<\/div><\/div><\/div>

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

[1] Das B\u00e4renreiter-Werk 21, 1972, p. 8.
\n[2] Ibid. 15, 1966, p. 12.
\n[3] A[lfred] E[instein], B\u00fccherschau, in: Zeitschrift f\u00fcr Musikwissenschaft 5, 1927, p. 310.
\n[4] Das B\u00e4renreiter-Werk 25, 1976, p. 38f.
\n[5] Karl V\u00f6tterle, Haus unterm Stern, Kassel 41969, p. 92.<\/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":"

From Augsburg to Kassel, from Folk Song to Sch\u00fctz<\/span><\/h1>

The Early Years<\/span><\/h2><\/div><\/div><\/div><\/div><\/div>
<\/div><\/div><\/div>
\r\n\t\t\t

22 March 1926 was a date of far-reaching significance for the young publishing house, which had already moved into its own premises in 1925: Richard Baum, who had just received his doctorate from the University of Munich, joined Gertraud Hahn, who had been Karl V\u00f6tterle\u2019s right hand since 1924, as an editor \u2013 little did he know that he would stay at B\u00e4renreiter for more than fifty years!<\/p>\n\r\n\t\t<\/div>\r\n\t<\/div><\/div><\/div>

\r\n\t\t\t

V\u00f6tterle later joked that this was the meeting of a musicologist with no idea of publishing and a young publisher with no idea of musicology,[1] and at first it did indeed seem like the collision of two different worlds: Baum was relieved when, on his first day at work, his boss \u201ccame to meet him wearing long trousers and a tie, rather than his hiking gear, customary for those in the Wandervogel movement\u201d.[2]<\/p>\n\r\n\t\t<\/div>\r\n\t<\/div><\/div><\/div>

<\/div><\/div><\/div><\/div><\/div><\/div><\/div><\/div><\/div><\/div><\/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 publisher in Augsburg. In the foreground Gertraud Hahn, in the back Karl V\u00f6tterle and Richard<\/p>\n\r\n\t\t<\/div>\r\n\t<\/div><\/div><\/div><\/div><\/div><\/div><\/div><\/div><\/div><\/div><\/div>

The \u201cSingbewegung\u201d (singing movement) and musicology<\/span><\/h2><\/div><\/div><\/div><\/div><\/div>
\r\n\t\t\t

However, the two fields were not actually as alien as it might seem: as early as 1923, V\u00f6tterle had been able to get Hans-\u00adJoachim Moser, a young professor from Halle, to be a judge at a singing convention in F\u00fcrstenfeldbruck, and he had met Konrad Ameln, who was studying with Joseph M\u00fcller-Blattau in K\u00f6nigsberg (today\u2019s Kaliningrad), at a singing week. The 1925 catalogue already reflects this \u201coverlap\u201d. The Locheimer Liederbuch<\/em> edited by Ameln and M\u00fcller-Blattau\u2019s edition of Forkel\u2019s Bach biography were two weighty new publications.<\/p>\n\r\n\t\t<\/div>\r\n\t

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

Besides these \u2013 in addition to Walther Hensel\u2019s folk songbooks, which were published monthly, and numerous theological writings \u2013 the catalogue contained performing editions of selected works by Johann Sebastian Bach, John Dowland, Hans Leo Ha\u00dfler, and Leonhard Lechner, which had been produced by experienced musicians such as the lute specialist Heinz Bischoff and the music educator Walther Pudelko. The field had thus already been tilled, and Richard Baum\u2019s work could begin.<\/p>\n\r\n\t\t<\/div>\r\n\t<\/div><\/div><\/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

Leonhard Lechner, Das Leiden unsers Herren Jesu Christi, edited by Konrad Ameln, cover design by Hermann Wilhelm<\/p>\n\r\n\t\t<\/div>\r\n\t<\/div><\/div><\/div><\/div><\/div><\/div><\/div><\/div><\/div><\/div><\/div>

<\/div><\/div><\/div>

New to the catalogue: church music<\/span><\/h2><\/div><\/div><\/div>
<\/div><\/div><\/div><\/div><\/div>
<\/div><\/div><\/div>
\r\n\t\t\t

In the early years, B\u00e4renreiter\u2019s catalogue primarily contained vocal music by old masters, but after 1926, more and more instrumental works were added. This did not clash with the premises of the Singbewegung, but was essentially a consistent development: chorales and sacred songs had already been performed in Finkenstein, and chamber music had been an integral part of the evening entertainment there. A further dynamic was set in motion by the 1927 Freiburg Organ Conference, which provided the initial impetus for church music and the German organ movement in much the same way that Finkenstein had for the Singbewegung. Karl V\u00f6tterle \u2013 who was an active member of the Berneuchen Circle, which advocated a sacramental renewal of the church and thus pursued ideas similar to those of the Singbewegung in the field of music \u2013 published the conference proceedings; new editors such as Hermann Keller and Karl Matthaei brought out standard-setting editions of organ music, some of which are still in B\u00e4renreiter\u2019s catalogue today.<\/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

A theological confession: the journal Musik und Kirche<\/em><\/p>\n\r\n\t\t<\/div>\r\n\t

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

The title of the journal Musik und Kirche, which first appeared in 1929 and was edited by Christhard Mahrenholz, showed where the company was heading: B\u00e4renreiter was increasingly establishing a profile as a music publisher with a decidedly theological bent \u2013 a development that placed the company\u2019s very existence at risk during the National Socialist era, but received public recognition in 1953, when Karl V\u00f6tterle was awarded honorary doctorates in musicology (University of Kiel) and Protestant theology (University of Leipzig).<\/p>\n\r\n\t\t<\/div>\r\n\t<\/div><\/div><\/div>

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

Heinrich Sch\u00fctz, Geistliche Chormusik<\/em> 1648, issue 1<\/p>\n\r\n\t\t<\/div>\r\n\t<\/div><\/div><\/div>

Welcoming Sch\u00fctz to the catalogue<\/span><\/h2>
\r\n\t\t\t

In the late 1920s, B\u00e4renreiter\u2019s early music editions started to attract the attention of musicologists. Alfred Einstein, who saw the publisher\u2019s catalogue as evoking \u201ca kind of new musical Nazarenism\u201d, gave it his vote of confidence: \u201cMusic research is watching this endeavour with silent pleasure, and \u2013 whatever may arise from these beginnings and doings \u2013: the objective knowledge of the past will profit from it.\u201d[3] One name in particular came into focus more and more: Heinrich Sch\u00fctz. The Historia der Auferstehung Jesu Christi, the Musikalische Exequien and the first volumes of the Geistliche Chormusik 1648 were among B\u00e4renreiter\u2019s first new editions (as was Einstein\u2019s biography), published from 1929 onwards. In 1930, V\u00f6tterle became one of the founders of the Neue Sch\u00fctz-Gesellschaft, at whose music festivals the composer\u2019s works were performed and which, after the War, commissioned B\u00e4renreiter to produce a new Complete Edition of Sch\u00fctz.<\/p>\n\r\n\t\t<\/div>\r\n\t

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

Fifty years after joining the publishing house, Richard Baum admitted that in retrospect, this concentration on the old masters was surprising and also raised some doubts: \u201cI have often asked myself whether I was partly to blame for the fact that, at the time Schoenberg was writing his \u2018Moses and Aaron\u2019, Stravinsky his \u2018Symphony of Psalms\u2019, and Alban Berg his Violin Concerto, we passed this chapter of European music by and, in grand one-sidedness, published old masters. But I console myself that in this way a very important chapter in the history of European music was opened up, a chapter that subsequently and to this day has helped countless people to both broaden and deepen their music-making.\u201d[4]<\/p>\n\r\n\t\t<\/div>\r\n\t<\/div><\/div><\/div><\/div><\/div><\/div><\/div><\/div><\/div><\/div><\/div>

Move to Kassel and marriage<\/span><\/h2>
\r\n\t\t\t

Finally, an important event: in 1927, Karl V\u00f6tterle met Maria Zei\u00df, who came from Kassel, at a singing week. It was Maria\u2019s father who lured the publisher to northern Hesse when V\u00f6tterle decided to expand his premises and was unable to find the right conditions for doing so in Augsburg. Thanks to a plot of land on the Wilhelmsh\u00f6he and a loan brokered without the usual red tape by Lord Mayor Herbert Stadler, several goods wagons laden with B\u00e4renreiter stock already rolled north that very summer. Six of fourteen employees moved to Kassel along with V\u00f6tterle; new staff joined. On 10 September 1927, the young couple were married in Kassel\u2019s Martinskirche by Hermann Schafft, and Karl V\u00f6tterle had found something he had long desired: a city that was not just a place of work, but also offered the opportunity to become involved in and influence its cultural life. \u201cThese were years of awakening and reflection, exhilarating years in which we \u2013 surrendered to the new vista opening up before us \u2013 stood apart from political life and failed to see what was coming.\u201d[5]<\/p>\n

Gudula Sch\u00fctz<\/em><\/p>\n\r\n\t\t<\/div>\r\n\t<\/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 his wife Maria, n\u00e9e. Zei\u00df<\/p>\n\r\n\t\t<\/div>\r\n\t<\/div><\/div><\/div>

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

Announcement of the relocation in Finkensteiner Bl\u00e4tter 5th year, issue \u00bd<\/p>\n\r\n\t\t<\/div>\r\n\t<\/div><\/div><\/div>

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

The publishing house in Kassel-Wilhelmsh\u00f6he before the War<\/p>\n\r\n\t\t<\/div>\r\n\t<\/div><\/div><\/div>

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

[1] Das B\u00e4renreiter-Werk 21, 1972, p. 8.
\n[2] Ibid. 15, 1966, p. 12.
\n[3] A[lfred] E[instein], B\u00fccherschau, in: Zeitschrift f\u00fcr Musikwissenschaft 5, 1927, p. 310.
\n[4] Das B\u00e4renreiter-Werk 25, 1976, p. 38f.
\n[5] Karl V\u00f6tterle, Haus unterm Stern, Kassel 41969, p. 92.<\/p>\n\r\n\t\t<\/div>\r\n\t<\/div><\/div><\/div>

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