As everybody knows, music history is not written in the past, but in the here and now. It can be found in those places where new things emerge and where there is room for brave individuals to explore what has never yet been attempted. At Mozarteum University, one such place is the Institute for Contemporary Music, which repositioned itself at the start of the year and sent a clear signal through its new name: the Institute for New Music has now become the Institute for Contemporary Music. Whilst New Music is associated with the avant-garde movements of the 20th century and historical schools, the concept of ‘contemporaneity’ broadens the horizon. It stands for a present that is diverse, hybrid and multimedia-based. “Our most fundamental task in the field of contemporary music – one of the most important core areas of an arts university – lies in defining and further developing current trends, formats and outreach models. This is precisely what the Institute must achieve and embody in future,” explains Kai Röhrig (Interim Head of the Institute, Professor of Opera Studies). His vision for the transitional period and beyond is aimed at fostering genuine collaboration and strengthening the Institute’s role as a powerful link between the university’s departments. As a hub for interdisciplinary work and experimentation, it combines the training of young composers with the practical realisation of their works by highly specialised instrumentalists and conductors.
The dynamism of this synthesis is demonstrated by the ARCOENSEMBLE, founded in 2024; under Röhrig’s musical direction, it has become the university's creative driving force in the field of contemporary music. “Working in the ARCOENSEMBLE differs from traditional orchestral work. Its ethos is very participatory and rooted in chamber music. It's quite common for us to stay behind during the breaks to fine-tune our sounds or work through tricky passages together. This passion for the finest detail is not possible in everyday orchestral life.” Linked to the ensemble is the conducting module within the International Master’s Programme in New Music (Berlin – Zurich – Salzburg), in which students take on direct responsibility on the rostrum as ‘Associate Conductors’.
Even in composition programmes at Mozarteum University, the focus has long since shifted away from learning rigid dogmas. Collaboration with the Mozarteum's own Opera Department, external partners such as Wien Modern, or renowned composers such as Chaya Czernowin, Fabien Panisello and Lisa Streich, creates an environment full of the highest quality whilst allowing for creative freedom. Laure M. Hiendl (Professor of Composition) emphasises the diversity of the programme and how this benefits students: “We teach the full spectrum of composition: from instrumentation through aesthetics and philosophical questions to compositional analysis and a significant focus on electronic music. It is not a matter of seeking formats for their own sake, but of finding, from within the compositional idea itself, a radically new form of expression.” The university’s infrastructure provides the ideal conditions for this: with the opening of Mozarteum University’s new campus at the Kurgarten (UMAK), students now have access to the Studio for Electronic Music (which can look back on a history spanning over 60 years), the X-Reality Lab and state-of-the-art spatial audio technologies. Digitalisation is not seen as a substitute for music, but as an extension of the creative scope for experimentation: “When using spatial sound or electronics, performers and composers are faced with the task of no longer simply determining what is played, but also where and how it is heard. Musicians learn to perceive themselves as part of a larger, evolving soundscape – composers must find new ways to capture movement, spatial distribution and the interplay with live electronics,” explains Achim Bornhoeft (Professor of Composition). Space and the nature of sound become as important as pitch and rhythm, and the boundaries between composition, sound art and performance become blurred. And new dynamics emerge: “Among younger generations, one sometimes observes a somewhat fragmented knowledge, with less historical context or memory – yet at the same time, students bring an impressive array of skills and knowledge from other fields. I believe and hope that the dialogue as a whole is characterised by respect and mindfulness, as this is how we can encourage students to take artistic risks,” says Sarah Nemtsov (Professor of Composition).
The Institute is very clear that it is a safe space where artistic failure is allowed as a valuable step on the path to developing one’s own aesthetic. The ongoing exchange broadens the students’ scope of activity – as is also the case with the highlight of the Institute’s festival calendar, the LIMINA Festival. This international platform for young composers and performers of contemporary music from across Europe offers insights into current aesthetic developments, with the added value for participants and audiences always being an important consideration, as Marco Sala (Deputy Director of the Institute, LIMINA team) emphasises: “LIMINA puts young composers at the centre: On the one hand, participants are selected via an open call; on the other, they take part as part of the curriculum. The exchange between the new generation of composers and the opportunity to experience over 20 world premieres make the festival truly special.” This year’s programme includes, amongst others, concerts by NAMES, œnm, Duo Deutsch-Ginot, LaKT Ensemble and ponysays, as well as a lecture concert with Rojin Sharafi.
The Institute for Contemporary Music makes it clear that engaging with the present serves as an indispensable foundation for a forward-looking university of the arts. Whether through new forms of spatial music, artificial intelligence or collaborations with other art forms: with a growing international network, a highly motivated body of lecturers and students, and the courage to experiment, it provides lasting impetus for the musical landscape far beyond Salzburg. To be continued!
(First published in the Uni-Nachrichten / Salzburger Nachrichten on 3.10.2026)
