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On October 11, 2022, Rector Prof.in Elisabeth Gutjahr was appointed to the rank of Officer of the Order of Arts and Letters by the Ambassador of the Republic of France, Gilles Pécout, for her commitment to culture and science.

The Federal Ministry of Arts, Culture, Public Service and Sport (BMKÖS) recently announced the winners of the Austrian Art Award 2022, each endowed with 15,000 euros - Johannes Maria Staud receives the Art Award in the category of music!

For 15 years, the Mozarteum University has been cooperating with the Tyrolean State Conservatory in the field of music school teacher training. In 2021/22, the offer in Innsbruck will be expanded to include the study profile "Jazz/Pop" in the Bachelor's program IGP and the Master's program "Making Music in Diversity Contexts".

The rediscovery and revival of (choral) works of the Baroque are matters close to the heart of Jörn Hinnerk Andresen, who has been Professor of Choral Conducting at the Mozarteum University since fall 2019.

News … Home News Review ARCO 2021 That was ARCO 2021! 19.07.2021 News © Universität Mozarteum That was ARCO - Art, Research & Creation Opus 2021! The bi-national academy ARCO is dedicated to musical creation in the field of contemporary composition / interpretation and is a cooperation between the University Mozarteum Salzburg and gmem CNCM marseille as well as the French Ensemble Multilatérale, Les Métaboles and TANA Quartet. This second edition of the festival took place in Marseille from July 8 to 17, organized by G.M.E.M. - Centre National de Création Musicale. Twelve young composers* from all over the world participated, as well as two student string quartets and an assistant conductor. The coaches were Elisabeth Gutjahr, Johannes Maria Staud, Henry Fourès, Christian Sebille, Yann Robin and Eva Reiter.   Next year at the University Mozarteum Salzburg!  More about ARCO Skip slider © Universität Mozarteum © Universität Mozarteum © Universität Mozarteum © Universität Mozarteum © Universität Mozarteum © Universität Mozarteum © Universität Mozarteum © Universität Mozarteum © Universität Mozarteum © Universität Mozarteum Jump to slider start

Since the 2016/2017 academic year, the Mozarteum University has been awarding the "Prize for Excellent Master's Theses", which recognizes outstanding theses by graduates who address their chosen topics in an innovative, original, unusual or particularly sustainably relevant way.

News … Home News The Last Works: Mozart's Requiem & Minuets from 1791 The Last Works: Mozart's Requiem & Minuets from 1791 04.10.2021 Press release © Universität Mozarteum The Mozartforum of the Mozarteum University, recently awarded the Salzburg Cultural Poster Prize 2021 for "1791", dedicates itself in 2021 to a reconsideration of those works that W. A. Mozart composed in 1791, the last year of his life. Two world premieres are on the program in October. Mozart Forum 1791: A discussion with direct bridging: The University Mozarteum's responsibility for Wolfgang Amadé Mozart gave rise to the founding of a forum committed to networking and stimulating Mozart-related activities of all institutes and departments of the university. The motto 2021: 1791 -  Mozart's year of death, which this year marks the 230th anniversary. All works composed by W. A. Mozart in the last year of his life were to be performed. After a large part of the events in the summer semester 2021 could not take place due to covid, the Mozartforum starts a new attempt with the beginning of the winter semester. Right at the beginning, two world premieres are on the program, which close the circle between yesterday and today and are to be understood as a bridge into the year 2021. Luft und Fleisch (world premiere) October 8 & 9, 2021, 8 p.m., Theater im Kunstquartier, Paris-Lodron-Strasse 2a Is there something timeless to be found in the structures of Mozart's dances, which are now 230 years old, that still moves us today? Mirjam Klebel (concept and choreography), Alexander Bauer and Oscar Jockel (composition & conception) together with students of the Thomas Bernhard Institute create a cross-disciplinary scenic theater evening with new music for chamber orchestra and electronics as well as Mozart's minuets from 1791. "Air and Flesh" is an experiential space in which archetypal sound forms collide and unexpected lines of connection between music and dance culture of the past and present are explored. Conductor: Ruben Hawer, Historical Dance: Margit Legler, Equipment: Thorben Schumüller Requiem in D minor (KV 626), Ave Verum Corpus (KV 618) Sunday, October 10, 2021 at 6:00 p.m., Mülln Parish Church, Augustinergasse 4 With the Requiem with Ave Verum Corpus, the choral concert in the baroque Mülln Parish Church is dedicated to the last work of W. A. Mozart, over whose writing he died on December 5, 1791. Conducted by Jörn Hinnerk Andresen and students of his class, the concert is a reflection of the work, which not only understands the Requiem as Mozart's proverbial final chord that has remained incomplete, but also opens up entirely new perspectives with original instruments and a bridge to the year 2021. With: Mozarteum vocalEnsemble, Mozarteum Chamber Choir and Chamber Orchestra, vocal soloists, musical rehearsal and overall direction: Jörn Hinnerk Andresen The Mozart Forum offers a variety of starting points and points of departure for reflection. Due to the participation of students, mainly young musicians are on stage - a special feature and motivating factor. A manifestation of this idea can be found in the design of a poster (concept: Gernot Sahler, design: Gerhard Andraschko-Sorgo / Studio Linie 3), which was published to accompany a bibliophile yearbook. This poster for the Mozartforum 2021, which features a unique look with a mirrored surface and "1791" sprayed in magenta, won this year's Salzburg Cultural Poster Award.   The further program of the Mozartforum 2021: November 9, 2021 at 7:00 pm, Solitär Piano Recital With Piano Variations, Works for Mechanical Organ and Adagio for Glass Harmonica   November 19 & 20, 2021, Mozarteum University 2-Day Symposium on 1791 In cooperation with the Department of Musicology and the Institute for the History of Musical Interpretation and Reception   November 19. November 2021 at 7 p.m., SolitärConcert: New Music Opening event in the framework of DIALOGE 2021 with 5 world premieres Under reservation: November 19, 2021 at 9 p.m., Foyer Costume ball Minuets and contredanse dances from 1791 in historical choreography and costumes

News … Home News Boundless musical Thomas Reif: Boundless musical 09.10.2021 Interview Sandra Steindl © Andrej Grilc At the age of 26 he is concertmaster of the Bavarian Radio Symphony Orchestra, at the same time on a "Misión Tango" with his Cuarteto SolTango. Now the native of Rosenheim Thomas Reif (30) takes a professorship for violin at the Mozarteum University. MO: At 26, concertmaster of the BR Symphony Orchestra. What was that like for you? Thomas Reif: I always wanted to become concertmaster, so I worked towards it and it was great when it worked out, of course - but also intense. We were on tour with Cuarteto SolTango at the time and had to postpone a concert by one day so that I could play the audition in Munich. After three tango concert evenings I had the hearing - and the next day we played a tango concert at the Bayrischer Rundfunk. (laughs) That was a funny coincidence and of course super, but also stressful. mO: Where we are already in the middle of the topic. You are at home in classical music, yet you overcome musical genre boundaries effortlessly. How do you manage that? Thomas Reif: Playfully. (laughs) Actually, it started in my childhood. I never did only classical music, because I've always had an interest in a wide variety of music. I didn't know the Argentine tango of the Golden Era, that is, the one that predates Astor Piazzolla, when Cuarteto SolTango approached me in 2016. But Martin Klett (piano), Karel Bredenhorst (cello) and Andreas Rokseth (bandoneon) are great musicians, so I had to give it a try - and so far I'm enjoying the tango insanely, because it's great music. But I'm also very interested in baroque music and I'm learning this repertoire piece by piece. Anyway, I'm not a violinist who plays only one or the other. I am a violinist, and I make music. mO: Would you like to see a more liberal approach to music in general? Thomas Reif: Well, I too have traditionally done all my studies what many others do and aspire to do. The fact that my path has worked out is, of course, fortunate. But it's not particularly alternative, even if I do break out a few with SolTango. In any case, I would like to teach my students to take their liberties. You don't have to do a competition every year during your studies, and then either be a soloist or join an orchestra. You can also devote yourself to other things. Basically, it's about thinking about other, new concepts in the art of classical music, including interdisciplinary and interdisciplinary approaches. But this "breaking open" already begins where a competition allows you to play something other than Bach, or where the intermediate examination allows something else, or where the professor does not insist on playing only Bach. Tango is a good example.   MO: What are your plans for your own professorship? Thomas Reif: Of course I want to be a good teacher - with everything that goes with it. Getting to know the students and building a good relationship with them so that I can help them in the best possible way to achieve their personal goals, recognize weaknesses and work on them. If someone wants to join an orchestra, the ideal preparation for auditions is the goal. If someone wants to work on new repertoire and remain a soloist or simply freelance and be creative, I find that exciting as well. My way is certainly not the only right and possible one. The important thing is to stay with yourself and do the things that bring you joy. mO: You came to the Pre-College of the Mozarteum University at the age of 12, studied here with Bruno Steinschaden and Harald Herzl, before going to Hamburg for your bachelor's degree and then to Berlin for your master's degree. What is it like for you to return here? Thomas Reif: Entering the building and also Harald Herzl's room for the first time to teach here myself was already something special and an intense déjà vu - it even still smells here like it did back then. In any case, the Mozarteum is not just any university for me. I commuted here for seven years, lived here for a year, played my first solo concert with orchestra here, I still know some of the porters from my studies, was awarded the "Sir Ian Stoutzker Prize". That was already a very formative time. mO: Speaking of the prize - how did you feel about your musical career itself? Were there particular highlights or, conversely, did you also have crises? Thomas Reif: Yes and yes. In any case, it was always exciting. And new things came along little by little, like this professorship now. In the context of competitions, the Queen Elisabeth Competition in Brussels was definitely a highlight. Together with 11 others, I made it to the finals at that time, for which we prepared for eight days in a "chapel" with no contact to the outside world, no cell phone and no computer. That was a unique experience. This competition was also very important for the time afterwards, as I was able to network well there on an international level. At the same time, however, I finished my bachelor's degree and started my master's in Berlin - and that was then a time of crises of meaning and play, because there I felt like a wimp who was being given another good wringing. I was just practicing and at the same time had the feeling that I couldn't play anymore. To get from here to there, you have to go through this valley. You have to break everything down and analyze it, and it gets worse at first, while at the same time your hearing becomes more sensitive. That's terribly exhausting, but enormously important because it's worth it. I learned that in my master's degree - and I'm still benefiting from it today. mO: What do you wish for the future of classical music, including your own concerts? Thomas Reif: Classical music should first of all be about breaking down conservative pigeonholes and labels. For example, if the audience claps between movements, then I'm happy - because that's the most honest and quickest reaction I can get. Historically, that's how it's always been done, too. People who sit in concert and "shush" declare the last 100 years to be the one truth. But in the time before that, the mood at classical concerts was similar to the mood at a jazz concert today. Anyway, these are rules that my friends shy away from - they feel uncomfortable all evening long, even though they actually find the music beautiful. Is it okay to take pictures? Is it okay to stand up and move around? Is it okay to clap when you feel the impulse? I would argue that many young people find classical concerts boring only because they are put off by the setting in which they take place. I think we need to loosen up about these things. You don't have to change the content of the music for that, because it's good.   Cuarteto SolTango Misión Tango CAvi, April 2021   The text originally appeared in the October 2, 2021 Uni-News of the Salzburger Nachrichten. More News Christiaan Willemse wins Ö1 Talent Exchange Composition Prize 2025 4.6.2025 Christiaan Willemse wins Ö1 Talent Exchange Composition Prize 2025  The Ö1 Composition Prize 2025, endowed with 10,000 euros, goes to the young composer Christiaan Willemse. He is studying composition in the postgraduate programme with Johannes Maria Staud at the Mozarteum University and impressed the jury with his personal and technically advanced works and compositional flair - congratulations! Awards & Successes Masterclass for Voice with Silvana Bazzoni Bartoli 27.5.2025 Masterclass for Voice with Silvana Bazzoni Bartoli  The only voice teacher Cecilia Bartoli has ever had is her mother, the soprano Silvana Bartoli Bazzoni. We are delighted to announce that from 4 to 8 August 2025, professional singers of all voice types will have the unique opportunity to work personally with Silvana Bartoli Bazzoni on ‘fundamental principles of vocal technique - the basis of a long singing life’ in a masterclass as part of the International Summer Academy at Mozarteum University. Registration is open now. News Dreamy, gestural, interwoven, humorous - or a chaotic hustle and bustle 14.4.2025 Dreamy, gestural, interwoven, humorous - or a chaotic hustle and bustle  Tina Geroldinger, a young Austrian composer, and Maurycy Hartman, clarinettist and founding member of the Ensemble for Contemporary Music, in conversation about the new ensemble, opportunities and possibilities for contemporary music in the current music world and about special moments that arise when people engage intensively with each other musically. Interview Braver than before - Mariia Tkachenko 8.4.2025 Braver than before - Mariia Tkachenko  Mariia Tkachenko lived in Kyiv until March 2022, where she received singing and violin lessons as a child and has already appeared in several TV productions. Her acting studies at the I. K. Karpenko-Karyi Kyiv National University of Theatre, Cinema and Television were interrupted by the war in Ukraine. Alumnae & Alumni Stories

Oscar Jockel, a master's student in orchestral conducting at the Mozarteum University, has won first prize in the competition for the assistant conducting position with the Berliner Philharmoniker. Jockel will serve as assistant conductor to the Berliner Philharmoniker and principal conductor Kyrill Petrenko for one year beginning in the fall of 2022. In addition, he will spend two years as an academician at the Karajan Academy and present his own portrait concert.

News … Home News The Mystical Reality of Rosamund Gilmore The Mystical Reality of Rosamund Gilmore 11.12.2021 Interview Sandra Steindl On December 15, the operetta "Orpheus in the Underworld" will be recorded at the Mozarteum University. A conversation with the renowned director Rosamund Gilmore about Jaques Offenbach, her first production at the house and her very own "style". MO: In 1858, Jaques Offenbach wrote to his librettist Ludovic Halévy that the idea of making Olympus like our own Earth had always fascinated him. You too? Rosamund Gilmore: Offenbach certainly implemented this idea very lovingly and with great knowledge of human nature! Since the gods are an invention of man anyway, it naturally seems obvious that they have very human traits. The contrast between arrogance, perfection, status and what often goes on behind the scenes in families at the same time forms a delightful material. And that's what this play is about, in which people and their gods intermingle. In this respect, this idea also fascinates me, yes. (laughs) MO: "Orpheus in the Underworld" is your first opera production at the Mozarteum University. How did you set up the piece? Gilmore: The gods are in the middle of the action almost from the beginning to the end, even if they don't play a role in a scene at the moment - they observe and comment. The space is very open, you can see the orchestra and the gods are sitting in the audience. That is, we used the stage as a picture - great job by Jiale Zhu, by the way - but only to show situations and venues. The world of the gods is white and clean and heaven-like. Hades, on the other hand, shows up colorful, crazy, fantastic. As soon as the gods descend into the underworld, they naturally find pleasure in it, because in reality they are bored to death in heaven. And therein lies the Offenbachian persiflage. In general, everything seems very funny and ambiguous, which is probably a sign of the time in which Offenbach was writing. Sexuality is not really explicitly expressed, but certain words and expressions are so specifically placed that you know exactly what you are talking about. MO: How would you describe your work or your style? Gilmore : In general, there are really only two ways for directors* to direct: realistically and supposedly naturalistically, which often means simply placing characters in a "realistic" setting that the audience will recognize. Then there is a style of directing that works very conceptually and likes to turn the plot on its head to play with the psychology of the characters. It is mostly used by theater directors and is called director's theater. Yes, and then there's me. (laughs) Of course I have a style too, but I'm not a Bob Wilson who puts "Bob Wilson" on everything, even though he does beautiful, great things and that doesn't mean that every play is the same at all - his style, however, is always the same. In contrast, I don't project my style onto a piece. I rather use it on my way - of course coupled with that world view I just have. In any case, it suits me very well to tell a given story that on the one hand is understood by the people sitting in the auditorium, but at the same time lets them confront and reflect on themselves. In that sense, I take a little bit of everything and call it "Mystical Reality." There is always a realism in my productions and also the people are clearly recognizable, you can see their emotion. Nevertheless, this realism is usually on the brink and seems a bit skewed. The reality on stage has to fit the psychology of the characters. Something like that. (laughs) Anyway, I worked as a dance theater writer for 14 years. I know Gilmore - and therefore prefer to devote myself to others. I want to get to know Wagner or Mozart and try to explore their worlds and stay with them, even if they are filtered through me. It remains their works. MO: You trained in classical ballet and in 1979, together with composer Franz Hummel, founded the "Laokoon Dance Group," which you established with pieces such as "Egmont Trilogy," "B Minor Mass" and "Bluebeard." When did you first become interested in opera? Gilmore: Basically, I came to opera through well-known contemporary composers who kept asking me to direct for them. So one thing led to another and suddenly it was classical opera. In any case, whether in dance or opera, I always want people in my pictures who use their whole body. How does a person feel when he mourns a lost love? How does he stand, how does he walk, how does he sit? How is his expression … I think that is essential. Because the audience immediately feels authenticity and can read it. Also in my choreographic career, inspired by Pina Bausch, it was always about how far you can lower the dance to express the emotion in the dancer. Dance for me has never been decorative or athletic, although at the same time it is always athletic because dancers have to do incredibly strenuous things. To develop the same principle with opera singers I found immensely appealing. And this approach has often helped the singers a lot. MO: You are considered one of the most distinguished directors for the classical opera repertoire, especially for contemporary music theater. What distinguishes working at a university from working at repertory houses? Or in other words, what makes working with students appealing? Gilmore: The discipline and concentration among the students is fantastic, the enthusiasm high. They are eager to play, very open to my work and don't come with role models of how they want to be. Offenbach, of course, contributes to the great atmosphere we've had this semester. It is an operetta, a joyful piece with joyful voices. Anyway, I am thrilled with the class - they are reaching professional levels, no question! And grateful that they were able to go through the learning process of how a professional opera production goes from A-Z, despite Corona. Yes, and I also experience the collaboration with Kai Röhrig as great. He really works for the students. You just have to remember that singers are often under enormous pressure in a repertory house because they sometimes have to learn up to six roles in a season. Stage rehearsals are often done on the back burner, which I fully understand. It's great to work with fantastic singers who know their roles inside out, who have specialized - because you find real partners in them, and I enjoy that. Nevertheless, I enjoy having a little more leeway. And I need to be needed. Discovering a work together with students is something wonderful. (First published in the Uni-Nachrichten / Salzburger Nachrichten on December 11, 2021) Jaques Offenbach: Orpheus in the Underworld 19.12.2021 Jaques Offenbach: Orpheus in the Underworld  Opera production More News Awards & achievements (german only) 1.7.2025 Awards & achievements (german only)  Awards & Successes Alexander Bauer and Anna-Maria Stadler awarded the Theodor Körner Prize 30.6.2025 Alexander Bauer and Anna-Maria Stadler awarded the Theodor Körner Prize  The Theodor Körner Fund supports young scientists and artists with the Theodor Körner Sponsorship Award, which is endowed with 5,000 euros. It is awarded for outstanding projects, provides direct support to the winners and is at their free disposal. Two Theodor Körner Prizes go to graduates of the Mozarteum: musician Alexander Bauer and writer Anna-Maria Stadler. Congratulations! Awards & Successes Lukas Stangl wins the Salzburg AG Art Prize 2025 11.6.2025 Lukas Stangl wins the Salzburg AG Art Prize 2025  The Salzburg AG Art Prize in the field of visual arts for students at the Mozarteum University Salzburg, worth EUR 10,000 and awarded for the first time, goes to Lukas Stangl (born 1992, Austria). With the Salzburg AG Art Prize, Salzburg AG promotes artistic engagement with the theme of ‘energy’. Theme of the first edition: Data Whispers: Making the Invisible Visible – congratulations! Awards & Successes Rachel Katstaller nominated for Ö1 Graphic Design of the Year award 11.6.2025 Rachel Katstaller nominated for Ö1 Graphic Design of the Year award  Rachel Katstaller has been studying art education at the [Bildnerische] Innsbruck since 2020 and has been nominated for the Ö1 Graphic of the Year award 2025 – vote now! News More news

The latest volume in the publication series "klang-reden" by the Institute for the History of Musical Reception and Interpretation is a plea for empirical repertoire research - and opens up new perspectives on Mozart.

Rombach Wissenschaft / Nomos, Baden-Baden 2021 | klang-reden 25

Rombach Verlag, Freiburg i. Br. 2017 | klang-reden 18

Rombach Verlag, Freiburg i. Br. 2016 | klang-reden 15

Rombach Verlag, Freiburg i. Br. 2015 | klang-reden 14

Rombach Verlag, Freiburg i. Br. 2014 | klang-reden 12