Clemens Kreutzfeldt, MA

Projektmitarbeiter

Musikerfamilien: Konstellationen und Konzepte

Zimmer LS 03 08
Lothringerstraße 18/III, A-1030 Wien

+43 1 71155 3555

kreutzfeldt@mdw.ac.at

Curriculum vitae

Clemens Kreutzfeldt joined the University of Music and Performing Arts Vienna as a research associate in 2019, where he is currently working on his dissertation “Music Trade in Antebellum Boston: Spaces of Transatlantic Exchange”. His topic emerged from the project “Musical Crossroads: Transatlantic Cultural Exchange 1800–1950”, led by Professor Melanie Unseld and funded by the Austrian Science Fund (FWF). Additionally, in 2022, he joined the FWF-project, “Musician Families: Constellations and Conceptions”, wherein he is currently developing ideas for a post-doctoral project. Prior to this, he was a research associate in the project “Musical Competitions: Framework and Database (1766-1870)” funded by the German Research Foundation (DFG) at the Institute of Musicology, University of Cologne, led by Professor Frank Hentschel (2016–2018).
In 2012, Clemens received his bachelor's degree in music, art and media from the University of Oldenburg. After studies at Kingston University, London, he continued his education in Oldenburg, receiving both a Master of Arts, with a focus on cultural history of music, and a Master of Education (music and art). He graduated in 2016 with a thesis on the British composer, pianist, and founding member of the Royal Philharmonic Society, Charles Neate (1784–1877).

 

Research interests

  • 19th Century Music Culture with an emphasis on England and the USA
  • Music Trade
  • Musician Families
  • Music and Visual Culture
  • Theories of Cultural Mobility

 

Publications

  • Music Across the Ocean. Eine theoretisch-methodische Navigationshilfe, (together with Carola Bebermeier and Melanie Unseld), in Music Across the Ocean: Processes of Cultural Exchange in a Transatlantic Space, 1800–1950, Carola Bebermeier, Clemens Kreutzfeldt and Melanie Unseld (eds.), [in preparation].                
  • “the first statue of art in this country“ – Das Bostoner Beethoven Festival 1856. Transatlantischer Transfer von Erinnerungspraktiken, in Music Across the Ocean: Processes of Cultural Exchange in a Transatlantic Space, 1800–1950, Carola Bebermeier, Clemens Kreutzfeldt and Melanie Unseld (eds.), [in preparation].
  • Musikalienhandel in Antebellum Boston: Räume des transatlantischen Austauschs. Dokumentation einer Ausstellung, in Music Across the Ocean: Processes of Cultural Exchange in a Transatlantic Space, 1800–1950, Carola Bebermeier, Clemens Kreutzfeldt and Melanie Unseld (eds.), [in preparation].
  • Zwischen Kommerzialität und Kunstideal: einem New Yorker Kompositionswettbewerb zur Mitte des 19. Jahrhunderts auf der Spur, in Musikwettbewerbe im 19. Jahrhundert, Die Tonkunst (2/2021), pp. 261–272.
  • Musikwettbewerbe im 19. Jahrhundert (Foreword as initiators of the theme issue), (Together with Carola Bebermeier, Christoph Müller-Oberhäuser and Jonas Traudes), in Musikwettbewerbe im 19. Jahrhundert, Die Tonkunst (2/2021), pp. 246–247.
  • „Die Kunst floh scheu vor rohen Krieges-Scenen“. Zwei Wiener Theaterbesucher in Zeiten französischer Belagerung, in BEETHOVEN.AN.DENKEN. Das Theater an der Wien als Erinnerungsort, Julia Ackermann and Melanie Unseld (eds.), (Wien: Böhlau 2020), pp. 95–108.
  • Die Musikalienhandlung als Raum des transatlantischen Austauschs. Nathan Richardson (1827–1859) und der Musical Exchange in Boston, in Die Tonkunst (4/2019), pp. 442–450.
  • Musikalische Preisausschreiben im 19. Jahrhundert: Ein historischer Grundriss, (together with Carola Bebermeier and Jonas Traudes), Frank Hentschel and Andreas Domann (eds.), (Universität zu Köln 2020).
  • Musical Crossroads. Europäisch-amerikanischer Kulturaustausch in der Musikalienhandlung von Nathan Richardson (1827–1859) und im Musiksalon von Clara Kathleen Rogers (1844–1931) in Boston, (together with Carola Bebermeier), in Klingende Innenräume: Gender Perspektiven auf eine ästhetische und soziale Praxis im Privaten, Sabine Meine and Henrike Rost (eds.), pp. 219–232.
  • Observing Musical Salon Culture in England c. 1800 through the Lens of the Caricature, (together with Maren Bagge), in Musical Salon Culture in the Long Nineteenth Century, Anja Bunzel and Natasha Loges (eds.), (Woodbridge: Boydell & Brewer 2019), pp. 95–108.
  • “Whilst snug in our Club-room...“ – Die Anacreontic Society: Englische Musikvereinskultur aus der Perspektive James Gillrays, in „Delights of Harmony“ – James Gillray als Karikaturist der englischen Musikkultur um 1800, Melanie Unseld (ed.), (Köln/Wien: Böhlau 2017), pp. 89–108.
  • Musikkulturelle Salonpraktiken im Spiegelbild englischer Karikaturen, (together with Maren Bagge), in Zirkulation von Nachrichten und Waren: Stadtleben, Medien und Konsum im 19. Jahrhundert, Anna Ananieva (ed.), (Tübingen: Tübingen University Press 2016), pp. 59–65.

 

Conference Talks

  • How does music culture find its way into the archive? The characteristics of musician families and their Archives, (together with Julia Ackermann), international conference: Family Archives and their Afterlives, 1400–present, University of Birmingham, UK, 27.06.–28.06.2023.
  • “the first statue of art in this country” The Boston Beethoven Festival 1856: Transatlantic Transfer of Memory Practices, international and interdisciplinary Conference: Music Across the Ocean: Processes of Cultural Exchange in a Transatlantic Space, 1800–1950, Universität für Musik und darstellende Kunst Wien, Austria, 08.09.–09.09.2022.
  • Museum practices of a 19th century Boston music store: Dimensions of cultural transfer in a Mozart portrait, 20th international Conference of Association RIdIM, Visualizing the Unseen: Music in Visual Culture, University of Applied Sciences and Arts, Lucerne, Switzerland 27.08.–29.08.2021.
  • Music stores in Antebellum Boston as spaces of transatlantic networking, international and interdisciplinary Conference: Musical Networking in the 'Long' 19th Century, Croatian Academy of Sciences and Arts, Zagreb, Croatia, 02.06.–05.06.2021.
  • Antebellum American music stores as pre-institutional spaces? [and] Potential of antebellum binder’s volumes as musicological source material, international workshop: Musical Crossroads, Universität für Musik und darstellende Kunst Wien, Austria, 28.11.–29.11.2019.
  • Musical Competitions in Antebellum New York City, international Conference: Competitions in Nineteenth-Century Music Culture, Universität zu Köln, Germany, 28.06.–29.06.2019.
  • Kultureller Transfer im Bild. Ein Mozart-Portrait aus dem Besitz des Bostoner Musikalienhändlers Nathan Richardson (1827-1859), workshop: Klingende Bildkörper. Performanzen von Musik und Geschlecht in visuellen Kulturen, Hochschule für Musik und Tanz Köln, Germany, 25.04.–26.04.2019.
  • Transatlantische Konvergenzräume. Musikkultureller Austausch Europa-USA (1800–1950), (together with Carola Bebermeier), workshop: Musik in Innenräumen. Genderperspektiven auf eine soziale und ästhetische Praxis, Hochschule für Musik und Tanz Köln, Germany, 13.06.–15.06.2018.
  • Musikalienhandel in Boston in der ersten Hälfte des 19. Jahrhunderts. Räume des transatlantischen Austauschs, international conference: Europäische Netzwerke, Wien/Paris. Regionaler und überregionaler kultureller Transfer 1750–1815, Universität für Musik und darstellende Kunst Wien, Austria, 20.11.–21.11.2017.
  • “Delights of Harmony?” James Gillray as an Observer of Musical Salon Culture in London around 1800, (together with Maren Bagge and Elisabeth Reda), international conference: 16th International Conference Association Répertoire Internationale D'Iconographie Musicale (RIdIM) The Musical Salon in Visual Culture, Rimsky-Korsakov Museum and Apartments, St. Petersburg, Russia, 07.09.–09.09.2016.
  • Englische Salonkultur um 1800: eine Annäherung über klingende Karikaturen (lecture concert together with Maren Bagge, Anastasia Wendler (soprano) and Elisabeth Reda (piano)), international conference: The European Salon: Nineteenth-Century “Salonmusik”, Maynooth University, Ireland, 02.10.–04.10.2015.

 

Organized Conferences/Workshops

  • International and interdisciplinary Conference: Music Across the Ocean: Processes of Cultural Exchange in a Transatlantic Space, 1800–1950, 08.09.–09.09.2022, Universität für Musik und darstellende Kunst Wien, organized together with Carola Bebermeier and Melanie Unseld.
  • International Workshop: Musical Crossroads, 28.11.–29.11.2019, Universität für Musik und darstellende Kunst Wien, organized together with Carola Bebermeier and Melanie Unseld.
  • International Conference: Competitions in Nineteenth-Century Music Culture, 28.06.–29.06.2019, University of Cologne, organized together with Carola Bebermeier, Christoph Müller-Oberhäuser and Jonas Traudes.
     

Database

  • Music related competitons 1820–1870 on the basis of music periodicals/Musikalische Preisausschreiben 1820–1870 auf Grundlage von Musikperiodika, (together with Carola Bebermeier, Aleksander Marcic and Jonas Traudes), University of Cologne, Frank Hentschel and Andreas Domann (eds.).

 

Science Communication (selection)

  • Music Trade in Antebellum Boston: Spaces of Transatlantic Exchange. An Exhibition, 07.–09.11.2022, Alter Konzertsaal, Universität für Musik und darstellende Kunst Wien.
  • Von Rom-Kantaten, musizierenden Arbeitern und Singvögeln, contribution to the Program Booklet of the International Telekom Beethoven Competition 2017.
  • Musik und Karikaturen: „Delights of Harmony“, Gesprächskonzert zur Musik der englischen Salons des 18. und 19. Jahrhunderts, (together with Maren Bagge, Anastasia Wendler (Soprano) and Elisabeth Reda (Piano), idea: Melanie Unseld), 26.11.2015, Hochschule für Musik, Theater und Medien Hannover and 19.02.2016, Pianoforte-Salon, Piano-Rosenkranz, Oldenburg (upon invitation of the German-British Society). (» NWZ Online)

 

Teaching

  • „Musikkultur und kultureller Austausch in Nordamerika 1800-1950“ (seminar, winter semester 2018/2019, University of Cologne)
  • „Von Romkantaten, Singvögeln und musizierenden Bergarbeitern. Musikalische Preisausschreiben im 19. Jahrhundert“ (seminar, winter semester 2017/2018, University of Cologne)

 

Abstract PhD-Project

My dissertation “Music Trade in Antebellum Boston: Spaces of Transatlantic Exchange” examines the Boston music trade between 1800 and 1860 as a space of transatlantic cultural transfer processes. The flourishing music market of that period reflects the musical and cultural life of the Atlantic metropolis and its transformations. It mirrors the economic, social and political developments, as well as the conditions of American musical culture. Significant influences on cultural life stemmed from the (crisis-related) migration from Europe as well as from an advancing industrial revolution, which increasingly eased mobility between the two continents.

The business model of Boston's music dealers of that time often included not only the mere buying, stocking, and selling of printed material, but also publishing activities, or the trade and production of instruments. In addition, their business premises functioned as social places where professional musicians and amateurs met and engaged in conversation. Information about upcoming concerts was distributed, concert tickets were sold and subscription lists were laid out. Furthermore, recommendations for suitable instrumental or singing teachers could be obtained. These multifaceted fields of activities were a requirement for a thriving business, and they made the music stores an elementary part of musical life. Thereby, music dealers were networkers par excellence and familiar with the European music culture and its actors. Many had practical experience and musical skills, acquired on both sides of the Atlantic, which had a crucial influence on their fields of activity in the music trade.

Their experiences resulted in the expansion of transatlantic trading spaces and the transfer of material goods such as printed music, instruments, or music-related literature, and they also shaped the social practices in their business premises. Boston music dealers were indispensable contacts for European musicians, who increasingly traveled to or immigrated to North America as it gained in economic attractiveness during this period. For these musicians, music dealers fulfilled important networking functions by having the necessary local connections to musicians, concert institutions or the music press. In fact, it was not uncommon for music dealers to act as managers for the concert activities of European musicians in the USA. Transatlantic transfer processes also found representations in their publishing activities. For example, music dealers followed the successes of traveling virtuosos in their publications; they advertised sheet music with information referring to European performance contexts, dedicatees or famous performers; last but not least, they considered the production of pirate copies as a possibility and necessity for their economic activities. The influence of music dealers on the repertoire of public concert life, as well as on the flourishing domestic music culture in North America, should not be underestimated. Their influence also raises questions regarding balancing processes between an awareness of a cultural mission and pure commerce.

J. H. Bufford's Lith. "Russel & Richardson, Music Store, Foreign & American, 291 Washington Street, Boston." Print. 1856. Digital Commonwealth, https://ark.digitalcommonwealth.org/ark:/50959/8k71nw174 (accessed January 26, 2021).