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HistoryChronological Table

1909
Heinrich Burkard becomes Director of Music to the Prince of Fürstenberg.

1913
Founding of the Donaueschingen Society of Friends of Music; first President Georg Mall. The Society is the agency which has supported the Festival in the legal sense from the beginning.

July 1920
Willy Rehberg, Professor at the Mannheim College of Music, suggests to Burkard that a "little music festival for young, aspiring talents" should be organized.

Spring 1921
Appointment of the honorary committee with Ferruccio Busoni, Siegmund von Hausegger, Arthur Nikisch, Max von Pauer, Hans Pfitzner, Franz Schreker and Richard Strauss.

1921 - 1923
First meeting of the working committee with Joseph Haas, Eduard Erdmann and Heinrich Burkard.

31. July 1921
The first concert of the "Donaueschingen Chamber Music Performances for the advancement of contemporary music" lays the foundation not only of the tradition of the Donaueschingen Music Festival, but also of speciality Festival culture in general - special festivals presented by and for experts. The performance of Paul Hindemith's String Quartet op. 16 lays the foundation of his world-wide reputation; composers represented at the Festival for the first time include Alban Berg, Alois Hába, Ernst Krenek, Phillipp Jarnach -

1924
- Anton Webern, Arnold Schönberg, Josef Matthias Hauer.

from 1924 onwards
Paul Hindemith the decisive member of the working committee; Erdmann leaves the working committee.

1925
Extension of the programme to include choral music; composers represented for the first time include Igor Stravinsky.

1926
Extension of the programme to include music for wind orchestra. This represents a continuation of the shift of emphasis to "Gebrauchsmusik" (the term originated by Hindemith at Donaueschingen and variously translated as "utility music" or "functional music") and music for a large community of players. At the same time, however, presentation of experimental forms and instruments such as Jörg Mäger's "Sphärophon"; with Oscar Schlemmer's "Triadic Ballet" extension of the programme to include ballet; the first original compositions for mechanical instruments.

1927
Change of venue to Baden-Baden; official title now "German Chamber Music Baden-Baden". The reasons for the change are to be found not only in the limited circumstances under which performances of certain forms of music can take place in Donaueschingen, but also in the forcing of activities involving Gebrauchsmusik - until 1929 the Festival takes place simultaneously with the flagship of the youth music movement, the week of music-making organized under the aegis of Adolf Hitler; composers represented for the first time include Hanns Eisler, Kurt Weill, Darius Milhaud.

1928
New accents; experimental performances in conjunction with the Society of German Film Music Composers, chamber opera/ opera on contemporary themes.

1929
Original compositions for radio, music for amateurs, film music. For the first time radio participates in the Festival; the radio company of the German Reich gives financial and technical support and South-West German Radio in Frankfurt puts its orchestra at the disposal of the Festival. Highlights: "Lindbergh's Flight" by Bertolt Brecht/Paul Hindemith/Kurt Weill and the "Lehrstück" ("Lesson") by Brecht/Hindemith. Financial difficulties in the town force the closing-down of activities in Baden-Baden.

1930
Heinrich Burkard takes up residence in Berlin and becomes director of music programmes for the national radio company of the German Reich; Haas leaves the working committee, Georg Schünemann takes his place.

July 1930
Under the patronage of the "Department of experimental radio in the state music academy" in Berlin the Festival "New Music Berlin" is founded, which follows and continues the programmatic tendencies laid down in Baden-Baden and Donaueschingen; thematic accents: radio plays, experiments with records, didactic pieces and children's operas.

1933-1945
The marble plate in the town hall, which was installed in remembrance of the chamber-music festival, is removed; under the artistic direction of Hugo Herrmann a Festival is founded corresponding to "National-Socialist views"; titles of the Festivals of these years include "Donaueschingen Musical Celebration", "Old and new chamber-music from the Swabian-Alemannic region", "Upper Rhenish Music Festival".

July 12th 1946
The French military government gives permission for the Society of Friends of Music to resume their activities.

27th/28th July 1946
First Festival after the war with the title "New Music Donaueschingen" under the direction of Hugo Herrmann.

1947
"New Music Donaueschingen"

1948
As a consequence of the monetary reform the Festival, which had already been planned, is cancelled.

1949/50
Internal differences and arguments about competence in respect of the future presentation of the Festival; Hugo Hermann is divested of responsibility for the programme.

April 1950
The Society of Friends of Music establishes contact with Heinrich Strobel, director of the music department of South-West German Radio Baden-Baden; a co-operation is arranged. Since then South-West German Radio has borne the sole artistic responsibility, has commissioned many new works every year and has taken over by far the greatest burden of financial responsibility for the Festival. By virtue of the fact that South-West German Radio puts its orchestra at the Festival's disposal the programmatic emphasis is shifted to orchestral music.

9th/10th October 1950
"Donaueschingen Festival of Contemporary Music"; beginning of the most stable period of the Festival's existence. Under the direction of its chief conductor Hans Rosbaud first appearance of the South-West German Radio Symphony Orchestra. The responsibility for the programme lies with Heinrich Strobel. Composers represented for the first time include Pierre Boulez, Olivier Messiaen, Hans Werner Henze -

1952
- Karlheinz Stockhausen, Bernd Alois Zimmermann -

1953
- Pierre Schaeffer/Pierre Henry, Luigi Nono -

1954
- Christian Wolff, Earl Brown, John Cage (first public appearance in Europa); the range of the programme is extended to include a jazz concert.

1955
Composers represented for the first time include Henri Pousseur, Iannis Xenakis -

1956
- Luciano Berio, Roman Haubenstock-Ramati -

1957
- Elliott Carter -

1959
- Mauricio Kagel, Edgard Varèse -

1960
- Krzysztof Penderecki -

1961
- György Ligeti -

1963
- Kazimierz Serocki -

1964
- Heinz Holliger, Friedrich Cerha.

January 1964
Ernest Bour becomes chief conductor of the South-West German Symphony Orchestra.

1966
Composers represented for the first time include Isang Yun -

1967
- Christóbal Halffter -

1969
- Alfred Schnittke.

1970
After the death of Heinrich Strobel Otto Tornek takes over the artistic direction of the Festival.

1971
New title for the Festival: "Donaueschinger Musiktage".

1972
Within the "acoustical forms of playing" the Karl Sczuka Prize is awarded for the first time during the Festival: composers represented for the first time include Dieter Schnebel -

1973
- Vinko Globokar, Paul-Heinz Dittrich -

1974
- Wolfgang Rihm -

1975
- Helmut Lachenmann, Hans Zender, Brian Ferneyhough; Josef Häusler takes over responsibility for the programme planning.

1977
Composers represented for the first time include Emmanuel Nunes -

1979
- Peter Eötvös -

1980
- Walter Zimmermann, Jörg Herchet, Younghi Pagh-Paan.

January 1980
Kazimierz Kord becomes new chief conductor of the South-West German Radio Symphony Orchestra.

1981
Christof Bitter takes over the artistic direction of the Festival together with Josef Häusler.

1983
Composers represented for the first time include Klaus Huber.

1986
Michael Gielen becomes new chief conductor of the South-West German Radio Symphony Orchestra; first appearance as conductor in Donaueschingen in 1987.

1990
Composers represented for the first time include Mathias Spahlinger.

1992
Armin Köhler takes over from Josef Häusler; more attention is given to artistic forms lying between the various arts and genres; composers represented for the first time include Martin Smolka.

1993
Christof Bitter withdraws; for the first time a thematic accentuation: "soundSPACE/SPACEsound". More attention is given to sound installations in places in the town which carry a particular aura; the first radiophone installation in the world, "FMo 99,5" by Martin Olbrisch; composers represented for the first time include Hanspeter Kyburz; Video Opera by Nam June Paik.

1994
Theme of the Festival: "Poetry of abstraction. Music beyond language"; large-scale exhibition "musica mechanica", out of which a movement arises initiated by sound installers all over the world; composers represented for the first time include Dror Feller.

1995
Theme of the Festival: "Music and language". In Bill Fontana's "Returning Landscapes" the world's first broadcast by satellite of sound-files live at the time of performance; composers represented for the first time include Antoine Beuger, Olga Neuwirth, Julio Estrada. A Japanese Gagaku ensemble represents the first involvement of other cultures.

March 1996
The management of South-West German Radio informs its fellow organizers that it must reduce its financial participation from 1998 onwards by 50%; it is planned to re-organize the Festival on a biennial basis. The unique wave of protest from all over the world forces the powers concerned to put forward a new financial concept: in addition to South-West German Radio Baden-Baden, the Land Baden-Württemberg and the town of Donaueschingen new financial backers are found: the KULTUR-STIFTUNG (cultural foundation) of the Bank of Germany and the Federal Ministry of the Interior.

October 18th 1996
Anniversary celebration "75 years Donaueschingen Festival" in the Donauhalle A. Speakers: Bernhard Everke, Mayor of Donaueschingen, Erwin Teufel, Minister-President of Baden-Württemberg, Friedrich Bohl, Head of the Office of the Federal Chancellor, Horst Fischer, President of the Society of Friends of Music, Helmut Lachenmann, Peter Voß, Director of South-West German Radio, August Everding, Director of the Bavarian State Theatres. Theme of the Festival: "The orchestra is dead - long live the orchestra!"

1997
Theme of the Festival: "Live electronics." Composers represented for the first time include Peter Ablinger, Diego Minciacchi, Benedict Mason, Silvia Fómina and Frederic Rzewski; the composers Pierre Boulez, György Ligeti and Maurizio Kagel represent the return of those who "grew up" with Donaueschingen in the 1950's; for the first time Internet café with world-wide live discussions; for the second time since 1996 a special project for children; outstanding sound installation "Empty Vessels" by Alvin Lucier.

1998
Theme of the Festival "The concerto principle"; outstanding concert with the Arditti String Quartet which has to be repeated three times; consistent continuation of the incorporation of new media.

1999
Composers represented for the first time include Zoro Babel, Daniel Ott, Peter Eötvös, Misato Mochizuki; Bolivian ensemble with a collection of authentic native instruments; for the first time for decades the re-appearance of one of the "old masters" of the avantgarde in Donaueschingen, Karlheinz Stockhausen. Sylvain Cambreling makes his first appearance in Donaueschingen as new chief conductor of the South-West German Radio Symphony Orchestra Baden-Baden and Freiburg.

2000
The Festival has been supported for 50 years by South-West German Radio, and on this basis has enjoyed its longest continuous period of existence; in this time around 400 works have been commissioned by SWR for the Festival.

2001
Outstanding concert with the Hilversum Radio Chamber Orchestra conducted by Peter Eötvös; composers represented for the first time include Jörg Widmann, Wolfgang Mitterer and Lisa Lim; systematic extension of the activities in the field of sound installation in the direction of "concert installation", including events in the F.F. library; for the first time accentuation of video art.

2002
Theme of the Festival: "Music and voice"; outstanding concerts with the experimental studio of the Heinrich Strobel Foundation of SWR and the South-West German Radio Symphony Orchestra Baden-Baden and Freiburg (Huber), composers represented for the first time include Bernhard Lang, Jennifer Walshe, Karin Rehnqvist; incorporation of the "Pisces Collection" into the Festival programme.

2003
Theme of the Festival: "Background and Event. InVersions"; with the "Music for dogs" an attempt at a new form of musical presentation between concert and installation. With the Orchestre Philharmonique de Radio France the third visit (after 1992 and 1996) of a guest orchestra to Donaueschingen.