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Artículos de revistas sobre el tema "Donaueschingen"

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Publicado: 25 de julio de 2024

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1

Erwin, Max. "Donaueschingen 2017". Tempo 72, n.º 284 (20 de marzo de 2018): 70–74. http://dx.doi.org/10.1017/s0040298217001292.

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Donaueschingen is three (and a half) days of nearly constant concerts; this review is around 3000 words. I have divided it into two sections. The first details the concerts that either I or the Donaueschingen audience considered to be of particular note, one way or another. The second deals with approaches to musical practice and issues raised by certain talks and performances. The date of composition for all of the pieces mentioned below is 2017 unless otherwise stated.

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2

Engström, Andreas. "Donaueschinger Musiktage 2016". Tempo 71, n.º 280 (3 de marzo de 2017): 86–88. http://dx.doi.org/10.1017/s0040298217000146.

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A theme for the festival in Donaueschingen was popular music, or so I heard in a radio broadcast on the six-hour drive from Berlin to that little Southern German new music metropole. But in Donaueschingen, there really wasn't that much pop music; the theme was actually a kind of after-construction, something that had, according to the festival director Björn Gottstein, crystallised as a kind of a common denominator in several of the works that had been commissioned. For me this felt like grabbing something out of the void; in the three days of the usual intense programme, it hardly shone through as something specific.

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3

Wolf, Reinhard y Wolf Hockenjos. "Rezension von: Hockenjos, Wolf, Unterhölzer". Schwäbische Heimat 70, n.º 2 (5 de enero de 2022): 248–49. http://dx.doi.org/10.53458/sh.v70i2.1382.

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4

Bauer, Hermann y Hermann Bauer. "Edelherrn von Zimmern und Lauda, von Ingelstadt, Krensheim und Gamburg". Zeitschrift des Historischen Vereins für das Württembergische Franken 6, n.º 1 (19 de octubre de 2022): 139–58. http://dx.doi.org/10.53458/zhvwf.v6i1.4190.

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5

König, Klaus W. "Dachbegrünung – Pilotprojekt mit optimierter Verdunstungsrate". wwt Wasserwirtschaft Wassertechnik 72, Modernisierungsreport (2023): 56–60. http://dx.doi.org/10.51202/1438-5716-2023-modernisierungsreport-056.

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Ein Gebäude mit 100 % dezentraler Regenwasserbewirtschaftung und einer Wasserhaushaltsbilanz mit angestrebten 50 % Verdunstungsanteil wie im natürlichen Gelände vor der Bebauung? Ein Projekt in Donaueschingen zeigt, wie es funktionieren kann.

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6

Trost, Vera. "Osmanische Handschriften in der Ausstellung "Reisen durch das Osmanische Reich"". WLBforum 5, n.º 2 (15 de octubre de 2003): 24–25. http://dx.doi.org/10.53458/wlbf.v5i2.474.

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Bei der Vorbereitung der beiden Ausstellung im Linden-Museum Stuttgart und in der Landesbibliothek fanden sich sowhol im Gründungsbestand Herzog Carl Eugens als auch in der ehemals Fürstlich-Fürstenbergischen Hofbibliothek Donaueschingen Osmanische Handschriften.

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7

Dunnett, Roderic. "Schwetzingen: Adriana Hölszky's ‘Der gute Gott von Manhattan’". Tempo 59, n.º 231 (enero de 2005): 37. http://dx.doi.org/10.1017/s0040298205210057.

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Adriana Hölszky – Romanian-born, but Stuttgart-based since 1976 – scored a deserved, significant hit when her first opera, Bremer Freiheit, based on Rainer Maria Faessbinder, was staged at the 1988 Munich Biennale. Two other operas – one based on Jean Genet – had their premières in Vienna and Bonn, before Stuttgart's ever-pioneering Württembergisches Landestheater commissioned Giuseppe e Silvia, based on Hans Neuenfels, in 2000. A sheaf of chamber and orchestral works have seen premières at festivals such as Styria and Vienna, and (even more aptly) at Donaueschingen.

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8

Лахенман, Х. Ф. "Self-portrait 1975". Журнал Общества теории музыки, n.º 2(26) (3 de junio de 2019): 74–78. http://dx.doi.org/10.26176/otmroo.2019.26.2.007.

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Настоящая публикация представляет собой перевод автобиографической заметки Хельмута Лахенмана «Selbstportrait 1975». Заметка составлена для буклета Донауэшингенских дней музыки 1975 года и состоит из двух частей: «Woher — Wo — Wohin» (собственно автобиография композитора) и «Zu SCHWANKUNGEN AM RAND» (комментарий к его известной пьесе). This publication presents a translation of Helmut Lachenman's autobiographical note «Selbstportrait 1975». The note is made for the booklet of the Donaueschingen days of music of 1975 and consists of two parts: «Woher — Wo — Wohin» (actually the composer's autobiography) and «Zu SCHWANKUNGEN AM RAND» (a commentary on his famous piece).

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9

Berschin, Walter. "Das « Augsburger Sakramentar » Clm 30040 (olim Donaueschingen 193). Entstehungsort und Datierung". Revue Bénédictine 130, n.º 1 (junio de 2020): 112–22. http://dx.doi.org/10.1484/j.rb.5.120204.

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10

Michaelis, Rainer, Claus Grimm y Bernd Konrad. "Die Furstenberg Sammlungen Donaueschingen. Altdeutsche und schweizerische Malerei des 15. und 16. Jahrhunderts". Zeitschrift für Kunstgeschichte 53, n.º 2 (1990): 239. http://dx.doi.org/10.2307/1482535.

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11

Vijfvinkel, Elly. "Die Integration des alten Osterspiels in den mittelalterlichen geistlichen Spielen von Donaueschingen und Luzern". Amsterdamer Beiträge zur älteren Germanistik 60, n.º 1 (1 de septiembre de 2005): 199–208. http://dx.doi.org/10.1163/18756719-060001012.

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12

Adler-McKean, Jack. "Donaueschinger Musiktage 2015". Tempo 70, n.º 276 (abril de 2016): 87–89. http://dx.doi.org/10.1017/s0040298215001084.

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An atmosphere of sadness, anger and uncertainty dominated this year's Donaueschinger Musiktage. The passing in November 2014 of Armin Köhler, the artistic driving force behind the festival for the last 23 years, has left a hole that will be hard to fill. Meanwhile, due to state budget cuts Donaueschingen's orchestra-in-residence, the SWR Sinfonieorchester Freiburg und Baden-Baden, paid what will almost certainly be their final visit. Musically, however, it was business as usual, with the programme featuring a wide variety of world premieres, several of works that will certainly be heard many times again, alongside much experimentation of varying interest and executional success.

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13

Wai-Ling, Cheong. "MESSIAEN'S CHORD TABLES: ORDERING THE DISORDERED". Tempo 57, n.º 226 (octubre de 2003): 2–10. http://dx.doi.org/10.1017/s0040298203000299.

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When Heinrich Ströbel commissioned Olivier Messiaen to write a new piece for the Donaueschingen Festival, he took care to specify that the piano and the ondes martenot were to be strictly forbidden. (‘Attention, Messiaen! Cette-fois-ci, pas d'onde, pas de piano!’) Such a specification is liable to be read as a measure taken to guard against any possible revival of the sound-world of Turangalîla-symphonie (1946–8). In an effort to surpass the achievements of Turangalîla, however, Messiaen had moved rapidly and decisively in the intervening years. Brief periods of teaching at Darmstadt and Tanglewood led to an obvious surge of experimental works, followed by Réveil d'oiseaux (1953), Oiseaux exotiques (1955–6) and Catalogue d'oiseaux (1956–8), his first attempts at composing primarily with bird songs. With the completion of Chronochromie (1959–60), the aesthetic stance of most of the ensuing works was firmly in place.

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14

Schuler, Manfred. "Die Auffuhrung von Mozarts "Le Nozze di Figaro" in Donaueschingen 1787. Ein Beitrag zur Rezeptionsgeschichte". Archiv für Musikwissenschaft 45, n.º 2 (1988): 111. http://dx.doi.org/10.2307/930584.

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15

Kratz, Bernd. "DIE BILDTEPPICHE ZUR LEGENDE VON MARIAE HIMMELFAHRT IN DONAUESCHINGEN UND KÖLN UND IHRE MÖGLICHEN LITERARISCHEN VORLAGEN". AMSTERDAMER BEITRÄGE ZUR ÄLTEREN GERMANISTIK 56, n.º 1 (16 de noviembre de 2002): 155–78. http://dx.doi.org/10.1163/18756719-056-01-90000013.

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16

Oberlin, Adam. "Fabian Sietz, Erzählstrategien im Rappolsteiner Parzifal. Zyklizität als Kohährenzprinzip. Studien zur historischen Poetik 25. Heidelberg: Universitätsverlag Winter, 2017, 328 S." Mediaevistik 31, n.º 1 (1 de enero de 2018): 480–81. http://dx.doi.org/10.3726/med012018_480.

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Wolfram von Eschenbach’s Parzival survives in nearly 90 codices and manuscript fragments, the latter as small as portions of a single folio and the former as Sammelhandschriften with several hundred extant folia. One example of a longer ms. among them is Cod. Sang. 857, also known as the Nibelungenlied B ms. or St. Galler Epenhandschrift, which includes as complete texts or fragments Parzival, Nibelungenlied, Diu Klage, Karl der Große (Stricker), Willehalm (also Wolfram von Eschenbach), and a few other shorter poems and religious writings. Another example is the object of research in Fabian Sietz’s wide-ranging study of narrative strategies, <?page nr="481"?>namely Cod. Donaueschingen 97 in the Karlsruhe Landesbibliothek – the remarkably complete and well-preserved Rappolsteiner Parzival (the codex has been digitized and can be found here: <ext-link ext-link-type="uri" xlink:href="https://digital.blb-karlsruhe.de/id/101664">https://digital.blb-karlsruhe.de/id/101664</ext-link>). Unlike the St. Gall ms., the Rappolsteiner Parzival includes not only Wolfram’s text but also a continuation adapted from Chrétien de Troyes’ Conte du Graal.

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17

Lachenmann, Helmut. "Composer dans l’ombre de Darmstadt (1987)". Circuit 15, n.º 3 (1 de febrero de 2010): 53–66. http://dx.doi.org/10.7202/902369ar.

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Dans cet article rédigé en 1987 et publié en 1996 dans le recueil de texte intitulé Musik als existentielle Erfahrung, le compositeur Helmut Lachenmann porte un regard critique et autocritique sur l’expérience des cours d’été de Darmstadt, depuis le début des années 1950 jusqu’au début des années 1980. Décennie par décennie, il dégage les divers courants et tendances qui ont marqué l’histoire de Darmstadt en explicitant les paradoxes parfois insolubles engendrés par l’attitude avant-gardiste dont les cours d’été avaient fourni le modèle autour de 1950. À chaque fois, il se réfère à des expériences vécues, faisant intervenir Luigi Nono (son professeur autour de 1960), Dieter Schnebel, John Cage ou Karlheinz Stockhausen. Partisan d’un « structuralisme dialectique », l’auteur spécifie enfin sa position — en référence au festival de Donaueschingen de 1980 et à un texte de 1982, « Affect et aspect » — par rapport à celles de Wolfgang Rihm et de Walter Zimmermann, ainsi que d’autres compositeurs ayant (ou non) tenté de théoriser leur relation à la tradition et à la subjectivité.

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18

Tsvetkovskaya, Tatiana A. "Paul Hindemith’s Cantata “Frau Musica” in the Context of the Participatory Musical Art Development". Observatory of Culture 18, n.º 4 (11 de octubre de 2021): 398–408. http://dx.doi.org/10.25281/2072-3156-2021-18-4-398-408.

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The article analyses the cantata “Frau Musica” by the German composer P. Hindemith. This work has come to be widely understood as an example of Gebrauchsmusik in the works of O. Leontieva, K.-D. Krabiel, M. Breivik. Gebrauchsmusik is often identified as utility music, which means that it is created for some specific purpose; but the purpose does not have to be utilitarian. In order to assess the profoundness of the composer’s concept and to clarify specifics of the descriptive term, it is necessary to go back to the basics of the theoretical debates about the social role of art that unfolded in the 1920s. Their main participants were H. Besseler and T. Adorno. A valuable source of information is the programs of music festivals in Donaueschingen and Baden-Baden, where Gebrauchsmusik was evolving as a multi-genre artistic experiment. Hindemith played the leading role in this process. It is also important to understand the reasons that prompted the composer to use M. Luther’s text in the cantata “Frau Musica”.Today the Gebrauchsmusik’s ideas — revitalization of the audience, expanding access to musical education and practical musical activities that evolve collaborative work — have gained the most relevance. According to the author’s hypothesis, “Frau Musica” can be regarded as an illustrative example of a work that combines different views on the nature of musical participation: a spiritual act, a collective work, the highest level of musical accessibility. In this particular composition, Hindemith intuitively found the most promising ways for the development of creative interaction between the composer and the listener, which subsequently led to the creation of a whole corpus of participatory works, including Tod Makover’s “City Symphonies”, Alexander Radvilovich’s “Baltic Music”, Paul Rissman’s “Supersonic”.

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19

EDWARDS, MARK. "Kinzig on the Creeds". Journal of Ecclesiastical History 70, n.º 1 (17 de diciembre de 2018): 119–29. http://dx.doi.org/10.1017/s0022046918000696.

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In these four volumes Wolfram Kinzig has put together the largest compilation to date of texts which profess to set out the principal tenets of the Church between the second and the eighth centuries of the Christian era. In dimension it easily surpasses its German precursors of the eighteenth and nineteenth centuries, while in content it can aim to be more eclectic than the compendium which Philip Schaff addressed to the clergy and fellow-believers in 1877. Its only rival in the twenty-first century is the joint labour of Jaroslav Pelikan and Valerie Hotchkiss, broader in chronological range but therefore less exhaustive in its representation of this formative epoch. The first volume affords all necessary materials for the telling and untelling of the narrative which customarily ends with the promulgation of an amplified version of the Nicene Creed at Constantinople in 381; the second is an argosy of western specimens, a high proportion being prototypes or variants of the so-called Apostles Creed; the third is a miscellany of both personal and synodical confessions, some conventional, some idiosyncratic, many obscure in provenance and purpose; the contents of the fourth are drawn primarily from the Carolingian era, though the sources consulted in the first half are as various as the Pontifical of Donaueschingen (vol. iv. 99), the Irish Book of Dimma (iv. 119), the Dicta Leonis Episcopi (iv. 158–61) and the Sacramentary of Autun (iv. 283). The result is a monument of erudition, an invaluable resource for all future scholarship, and pleasurable reading for those who have hitherto been unable to approach the texts for want of an English rendering. The following remarks are therefore offered to the editor of these volumes as a stimulus to discussion, not to throw any aspersion on his judgement or on his many-times-proven competence as historian and critic.

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20

Nikolskaya, I. I. "The Warsaw Autumn International Music Festival — Overcoming the Boundaries between East and West". Art & Culture Studies, n.º 4 (diciembre de 2023): 500–555. http://dx.doi.org/10.51678/2226-0072-2023-4-500-555.

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In the late 1940s — early 1950s, a huge gap appeared between the development of musical cultures of Western and Eastern Europe, and it was Poland that initiated bridging it. Therefore, the emergence of the Warsaw Autumn Festival of contemporary music, which has become the largest, was not coincidental. The article is devoted to studying this cultural phenomenon, which has a significant scientific novelty, because the Warsaw Autumn has not yet been subjected to a detailed scientific analysis in Russian musicology. According to the organizers of the new festival — young Polish composers Tadeusz Baird and Kazimierz Serocki, — Warsaw was to become a center of contemporary music, no less important than the avant-garde music festivals in Darmstadt, Donaueschingen, Cologne or Milan. However, the purpose of the Warsaw Autumn is more ambitious — to provide a complete aesthetic and stylistic picture of modern music, and not just avant-garde music, as was the case in Western European countries. The repertoire policy of the festival covered several areas: avantgarde music, more traditional music, the classics of the 20th century, and promotion of Polish music. The festival laid claim to being a reliable display of contemporary music in the world, reacted to the changes in global music, and soon became the largest music arena of the 20th century. It was attended by the most prominent composers of the East and West. For the socialist countries, it became a true “window on Europe” and a platform for mastering new techniques of composition. Without the Warsaw Autumn festival and its profound influence on composers of socialist countries, it would be utterly impossible to imagine the development of musical art of the entire region. This article suggests focusing on the early period of the festival, from 1956 (when it was established) to the early 1980s.

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21

Heinzer, Felix. "Die neuen Standorte der ehemals Donaueschinger Handschriftensammlung". Scriptorium 49, n.º 2 (1995): 312–19. http://dx.doi.org/10.3406/scrip.1995.1737.

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22

Bradshaw, A. M. "Kurzprotokoll der letzten Sitzungen von Vorstand und Vorstandsrat/Besuch aus China/Physik als lebendiger Wettstreit: DPG übernimmt Schirmherrschaft des „11. Internationalen Turniers junger Physiker”︁ vom 31. Mai bis 6. Juni 1998 in Donaueschingen/Einige A". Physik Journal 53, n.º 12 (diciembre de 1997): 1232–33. http://dx.doi.org/10.1002/phbl.19970531217.

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23

Vijfvinkel, Elly. "DIE SZENENFOLGE IM DONAUESCHINGER PASSIONSSPIEL UND IM LUZERNER OSTERSPIEL". Amsterdamer Beiträge zur älteren Germanistik 30, n.º 1 (29 de marzo de 1990): 111–16. http://dx.doi.org/10.1163/18756719-90000027.

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24

Eming, Jutta. "Gewalt im Geistlichen Spiel: Das Donaueschinger und das Frankfurter Passionsspiel1". German Quarterly 78, n.º 1 (19 de mayo de 2008): 1–22. http://dx.doi.org/10.1111/j.1756-1183.2005.tb00001.x.

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25

Franz, Matthias, Maria Knipping, Ulrich C. Müller y Albert Schreiner. "Investigations of the age and origin of the gravel deposits of the Donaueschinger Ried (Baden-Wuerttemberg)." Zeitschrift der Deutschen Geologischen Gesellschaft 154, n.º 2-3 (27 de febrero de 2003): 407–21. http://dx.doi.org/10.1127/zdgg/154/2003/407.

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26

Bakó, Eszter Bernadett. "Tanköteles korú bevándorló gyermekek és fiatalok nyelvi integrációja a német közoktatásban". Modern Nyelvoktatás 29, n.º 3–4 (13 de diciembre de 2023): 100. http://dx.doi.org/10.51139/monye.2023.3-4.100.117.

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A tanulmány témája a tanköteles korú bevándorló gyermekek integrációja a német közoktatásban. Ez jelenleg egy kiemelten fontos és időszerű téma, részben az 2015 óta zajló jelentős bevándorlási hullám, részben az 2022-ben kitört ukrajnai háború miatt. A dolgozatban vizsgálom a migrációs folyamatokat, a bevándorló felnőttekre és a fiatalokra vonatkozó statisztikai adatokat. Részletesen tárgyalom az oktatásba való sikeres beilleszkedést és a nyelvi hátrányok leküzdését segítő programokat. Az integráció gyakorlati megvalósulásának részleteit a Donaueschingeni Oktatási Hivatalnál tett látogatásom alapján mutatom be. A tanárok továbbképzésének fontosságát és a felnőtteknek szóló nyelvkurzusokat is kiemelten vizsgálom. A családi háttér támogató szerepét is hangsúlyozom a gyermekek nyelvi fejlődésének és az iskolai előmenetelének vonatkozásában.

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27

Lash, Dominic y James Saunders. "AFTER #[unassigned]: an Interview with James Saunders". Tempo 70, n.º 276 (abril de 2016): 5–21. http://dx.doi.org/10.1017/s0040298215000947.

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AbstractI have long been intrigued by the way James Saunders’ music is at home both in the more canonical new music contexts (such as the Darmstädter Ferienkurse, Donaueschinger Musiktage or Huddersfield Contemporary Music Festival) and in more underground, fugitive contexts. This may be because – unlike so many composers who tip the scales to one side or another – Saunders is equally interested in relationships between sounds and relationships between people. The following text explores the ways Saunders’ work has balanced these interests; it originated in an interview initiated by Simon Reynell to accompany the CD release of Saunders’ composition assigned #15, performed by Apartment House, on Reynell's Another Timbre label. We subsequently followed up with a second interview extending the discussion to more recent work.

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28

Knippenberg, Carla Dauven-van. "EIN UNBEKANNTER LONGINUS GEDANKEN ÜBER DIE LONGINUSGESTALT IM DONAUESCHINGER UND IM LUZERNER PASSIONSSPIEL". Amsterdamer Beiträge zur älteren Germanistik 30, n.º 1 (29 de marzo de 1990): 1–13. http://dx.doi.org/10.1163/18756719-90000018.

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29

Knessl, Lothar. "Donaueschingen". Österreichische Musikzeitschrift 57, n.º 1 (enero de 2002). http://dx.doi.org/10.7767/omz.2002.57.1.65.

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30

Knessl, Lothar. "Donaueschingen". Österreichische Musikzeitschrift 58, n.º 1 (enero de 2003). http://dx.doi.org/10.7767/omz.2003.58.1.65.

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31

Knessl, Lothar. "Donaueschingen". Österreichische Musikzeitschrift 59, n.º 1 (enero de 2004). http://dx.doi.org/10.7767/omz.2004.59.1.70.

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32

Knessl, Lothar y Elisabeth Haas. "Donaueschingen". Österreichische Musikzeitschrift 60, n.º 1-2 (enero de 2005). http://dx.doi.org/10.7767/omz.2005.60.12.79.

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33

Knessl, Lothar. "Donaueschingen". Österreichische Musikzeitschrift 62, n.º 1 (enero de 2007). http://dx.doi.org/10.7767/omz.2007.62.1.65.

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34

Spangemacher, Friedrich. "DONAUESCHINGEN 1986". Österreichische Musikzeitschrift 41, n.º 12 (enero de 1986). http://dx.doi.org/10.7767/omz.1986.41.12.660.

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35

Kager, Reinhard. "MUSIKTAGE DONAUESCHINGEN 1988". Österreichische Musikzeitschrift 43, n.º 12 (enero de 1988). http://dx.doi.org/10.7767/omz.1988.43.12.706.

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36

"Fischer vs. Finanzamt Donaueschingen". Gaming Law Review 4, n.º 1 (febrero de 2000): 107–25. http://dx.doi.org/10.1089/glr.2000.4.107.

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37

Kager, Reinhard. "Live-Elektronik in Donaueschingen". Österreichische Musikzeitschrift 52, n.º 12 (enero de 1997). http://dx.doi.org/10.7767/omz.1997.52.12.68.

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38

Knessl, Lothar. "Donaueschingen 1985 - Pianissimo breitet sich aus". Österreichische Musikzeitschrift 40, n.º 12 (enero de 1985). http://dx.doi.org/10.7767/omz.1985.40.12.681.

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39

Knessl, Lothar. "Donaueschingen umkreist. Aus dem Herbsttagebuch eines reisenden Musikfreundes". Österreichische Musikzeitschrift 47, n.º 1 (enero de 1992). http://dx.doi.org/10.7767/omz.1992.47.1.36.

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40

Knessl, Lothar. "Donaueschinger Musiktage". Österreichische Musikzeitschrift 54, n.º 12 (enero de 1999). http://dx.doi.org/10.7767/omz.1999.54.12.62.

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Knessl, Lothar. "Donaueschinger Musiktage". Österreichische Musikzeitschrift 56, n.º 1 (enero de 2001). http://dx.doi.org/10.7767/omz.2001.56.1.73.

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Knessl, Lothar. "Donaueschinger Musiktage". Österreichische Musikzeitschrift 60, n.º 12 (enero de 2005). http://dx.doi.org/10.7767/omz.2005.60.12.62.

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Knessl, Lothar. "Donaueschinger Musiktage". Österreichische Musikzeitschrift 63, n.º 1 (enero de 2008). http://dx.doi.org/10.7767/omz.2008.63.1.62.

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Knessl, Lothar. "Donaueschinger Musiktage". Österreichische Musikzeitschrift 64, n.º 1 (enero de 2009). http://dx.doi.org/10.7767/omz.2009.64.1.71.

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Knessl, Lothar. "Donaueschinger Musiktage". Österreichische Musikzeitschrift 65, n.º 1 (enero de 2010). http://dx.doi.org/10.7767/omz.2010.65.1.53.

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Hagmann, Peter. "Donaueschinger Musiktage". Österreichische Musikzeitschrift 66, n.º 1 (enero de 2011). http://dx.doi.org/10.7767/omz.2011.66.1.80.

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Knessl, Lothar. "DONAUESCHINGER MUSIKTAGE 1987". Österreichische Musikzeitschrift 42, n.º 12 (enero de 1987). http://dx.doi.org/10.7767/omz.1987.42.12.621.

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Meyer, Thomas. "Donaueschinger Musiktage 1989". Österreichische Musikzeitschrift 44, JG (enero de 1989). http://dx.doi.org/10.7767/omz.1989.44.jg.630.

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"„DONAUESCHINGER KAMMERMUSIKTAGE 1921-26“". Österreichische Musikzeitschrift 65, n.º 6 (enero de 2010). http://dx.doi.org/10.7767/omz.2010.65.6.18.

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Kager, Reinhard. "75 Jahre Donaueschinger Musiktage". Österreichische Musikzeitschrift 51, n.º 12 (enero de 1996). http://dx.doi.org/10.7767/omz.1996.51.12.873b.

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