Carl Reinecke as key figure of musical life in late-19th-century Leipzig. Studies on his institutional networks and pedagogical impact

该项目调查了像卡尔·莱内克这样的多才多艺的音乐家和作曲家在多大程度上能够对19世纪末日益拓宽和差异化的莱比锡音乐生活产生影响。它探讨了城市音乐机构的紧密网络所产生的后果，雷内克就是典型地体现了这一点，关于城市内外音乐文化的发展。通过考察这位主要演员的活动领域，将对莱比锡音乐生活的复杂结构和过程有更具体的了解，从而能够重新评估莱内克的角色和他帮助塑造的莱比锡音乐史的阶段。在19世纪下半叶，全面的职业化导致了欧洲音乐文化的日益分化，以莱内克为代表的年龄较大、多才多艺的音乐家逐渐被高素质的专家所取代。在此背景下，将讨论莱内克在莱比锡音乐界关键位置的长期活动是否实际上阻碍了莱比锡音乐界的进一步发展(正如人们经常假设的那样)，或者莱内克之所以能够坚持这么长时间，正是因为他的音乐家类型对于19世纪初在莱比锡发展起来的紧密缠绕的结构是必要的(或认为是必要的)。为了回答这些问题，该项目将重点关注莱内克活动的两个领域：一方面，他与莱比锡音乐出版商(特别是Breitkopf&Härtel)以及作为Gewandhaus指挥家的多方面网络；另一方面，他在音乐学院的教学内容(音乐理论、作曲、美学)和影响。这两个领域从紧密交织在一起的两个互补的角度说明了莱内克的不同活动。因此，可以假设在他的教学中使用的曲目与在他的音乐会上呈现的曲目之间有很大的重叠。同样的道理可能也适用于他作为老师所传达的技术和美学标准，以及他的专家报告所依据的提供给音乐出版商的新作品。此外，莱内克还能够有效地将他的学生提升为指挥家和专家。他自己的作品也在这两个领域发挥了作用，表演和出版作品以及说教模式。从这两个角度来看，同样重要的是澄清莱内克的偏好和美学原则在多大程度上与1860年之前已经存在的莱比锡传统联系在一起，以及他是否能够实施新的方法，从而塑造这座城市的音乐生活。

The project investigates the extent to which a versatile musician and composer like Carl Reinecke was able to exert influence on the increasingly broadening and differentiating Leipzig musical life of the late 19th century. It explores the consequences resulting from the tight network of the city’s musical institutions, paradigmatically embodied by Reinecke, regarding the development of musical culture both inside and outside the city. By examining this central actor’s fields of activity, a more concrete understanding of the complex structures and processes of Leipzig’s musical life will be gained, enabling a reassessment of both Reinecke’s role and the phase of Leipzig’s musical history that he helped to shape. In the second half of the 19th century, comprehensive professionalisation led to an increasing differentiation in the European music culture, in which the older, versatile type of musician embodied by Reinecke was gradually replaced by highly qualified specialists. Against this background, it will be discussed whether Reinecke’s long activity in key positions of Leipzig’s music scene actually inhibited its further development (as is often assumed) or whether Reinecke was able to hold his own for so long precisely because his type of musician was necessary (or perceived such) for the closely entangled structure that had developed in Leipzig earlier in the 19th century. In order to answer these questions, the project will focus on two areas of Reinecke’s activity: On the one hand, his multifaceted networking with Leipzig’s music publishers (especially Breitkopf & Härtel) and as Gewandhaus conductor will be elaborated; on the other hand, the contents (music theory, composition, aesthetics) and impact of his teaching at the Conservatory will be examined. These two fields illuminate Reinecke’s diverse activities from two complementary perspectives that are closely intertwined. Thus it can be assumed that there were substantial overlaps between the repertoire used in his teaching and that presented in his concerts. The same is likely to be true of the technical and aesthetic criteria that he communicated as a teacher and on which he based his expert’s reports on new compositions offered to music publishers. In addition, Reinecke was able to effectively promote his students as a conductor and expert. His own compositions also played a role in both fields, as performed and published works as well as didactic models. Looking from both perspectives combined, it is also important to clarify the extent to which Reinecke’s preferences and aesthetic principles were bound to Leipzig traditions that already existed before 1860, and whether he was able to enforce new approaches and thus shaped the city’s musical life.