It is thus that the festival KlangBildKlang, which will bundle over 50 projects at a wide array of Viennese venues this May and June, can call upon a rich art- and musico-historical tradition. The question as to whether it is possible to render sounds visible and—conversely—render images, colours, and motion audible is to be pursued in a multitude of locations.

Stephan Pauly, Director of the Gesellschaft der Musikfreunde in Wien, on the common roots shared by his institution and the mdw, the Webern Symphonie Orchester, and jointly developed new concert formats.

To numerous Viennese music lovers, Sian Edwards has been a familiar name for many years, now—thanks to her collaboration with Klangforum Wien and the ORF Vienna Radio Symphony Orchestra and by virtue of numerous Theater an der Wien appearances conducting works such as Jake Heggie’s Dead Man Walking, André Previn’s A Streetcar Named Desire, Benjamin Britten’s The Rape of Lucretia, and Giuseppe Verdi’s La traviata.

The academic year of 2020/21 marks the birth of the mdw’s Department of Early Music—and in the following conversation, department head Stefan Gottfried and deputy head Eugène Michelangeli speak about their approaches to historically informed performance and the initial projects of this new department.

Olga Neuwirth was born in Graz in 1968. She began taking trumpet lessons at age seven but had to give up playing later on due to an accident. In 1986, she went to San Francisco and enrolled at the Conservatory of Music as well as at the Academy of Art College, where she studied painting and film. She eventually transferred to the mdw.

A Conversation with Prof. Helmut Zehetner, in Charge of Orchestral Instruction at the mdw.

The 30-year jubilee of Wien Modern is reason enough to invite students and instructors of the mdw to mount three central projects.