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News … Home News Visionary building project of the Mozarteum University at the Salzburg spa garden UMAK: Visionary building project of the Mozarteum University at the Salzburg spa garden 18.10.2021 Press release © Berger+Parkkinen With the new building project UMAK (University Mozarteum at the Kurgarten) and the completion of the submission planning on October 1, 2021, the University Mozarteum opens a forward-looking, new chapter in its history, which means a sustainable investment in the art university research and in the educational location Salzburg.  One of the special challenges is an X-Reality laboratory, the only one of its kind in Austria so far, planned as an artistic workshop, research and production space for audiovisual, immersive design. The planning team includes renowned institutions such as IRCAM (Paris) and Ars Electronica (Linz). The Multimedia and Digitization Lab will also be shareable with partner institutions (such as the Salzburg University Conference). With a focus on transdisciplinarity and transmediality, the Lab also provides an ideal basis for building a culture of digitality in research, teaching and the arts. The second major focus in the use of the building is singing in all its diversity: solo and ensemble, opera and vocal pedagogy. The University Mozarteum has a long-standing relationship with the internationally renowned Bach Choir, which will find a new home here. "With the building project, the Mozarteum University can alleviate its space shortage somewhat, but above all also set a unique milestone towards the future. With the X-Reality-Lab, we can set out into new spaces of experience in the middle of Salzburg and do so in close cooperation with the major local cultural institutions and the Salzburg University Conference. We are very happy about this great opportunity and would like to thank all those who made it possible, especially the city and state of Salzburg," emphasizes Rector Elisabeth Gutjahr. Funding: lion's share of 13.6 million from the federal government The funding has been approved, and the submission planning will be completed by October 1, 2021. This means that two milestones have been reached towards the groundbreaking ceremony in summer 2022 and the opening of the building in October 2024. 80 percent of the construction work in the upper threshold range will be put out to tender across the EU this year in accordance with the Federal Public Procurement Act and awarded around the beginning of March 2022. Supplementary tenders will be issued as required during ongoing construction operations. Overall, regional and ecologically sustainable solutions will be sought in the tendering process.  The new building project of the Mozarteum University at Salzburg's Kurgarten, which is currently in the planning stage, will cost around 20 million euros. In addition to 1.5 million euros in own funds, the lion's share of 13.6 million euros will come from the Federal Ministry of Education, Science and Research . 3 million euros will be invested by the province of Salzburg.  "The province of Salzburg is funding this project with 3 million euros. With this study building, we are strengthening our innovative creative location and thereby significantly increasing the quality in the areas of digitization, innovation, research and in the field of music theater and singing. This will also ensure that the Bach Choir will have excellent and allocated rehearsal space to use," says Governor Wilfried Haslauer. Half a million of the 3 million will be provided as part of a special grant for research and securing scientific locations. "The highly innovative core of the building is the multimedia and digitization lab, which combines analog artistic production and digital production. In the Lab, artistic research, development and experimentation can be carried out, and acoustics can be combined with the visual possibilities of augmented, virtual and cross reality," says Science Provincial Councilor Andrea Klambauer, who is convinced of the innovations funded with half a million euros. The city and state of Salzburg are each contributing an additional 700,000 euros to finance the premises of the Salzburg Bach Choir at the new building, and the Bach Choir itself is contributing 200,000 euros: "Salzburg is rightly pleased with the successful conceptual and architectural 'throw' of the new Paracelsusbad and Kurhaus. The planning of the architectural office Berger+Parkkinen provides for a further building in the intersection area Schwarzstraße-Auerspergstraße with high architectural quality at this top location. With the expansion of the Mozarteum, which is now to be started, Salzburg emphasizes its position as a university location and strengthens its core competence 'culture'." At the same time, we can also achieve an optimal solution for the Bach Choir, which has already been operating at a high artistic level for years," says Mayor Harald Preuner . Johannes Feigl , President of the Bachchor is very grateful for the generous support of the City and Province of Salzburg as well as the many private donors*:  "Even if the journey was a long one, we are very happy about the destination now in sight, where the Bachchor can finally arrive after forty years in 2024 and find its place for the musical work and artistic development. Situating it together with the Mozarteum University opens up potential for cooperation on both sides, which will benefit not least our planned work with young musicians with a claim to excellence."   Utilization: Resolution of acute space needs & more space for research The University Mozarteum Salzburg can also breathe a sigh of relief, at least a little, in terms of space. Since, among other things, due to the reconstruction in the Mozarteum Foundation, part of the Department of Voice had to move out already in February 2021 and in the medium term other Foundation premises  will also be eliminated, as they cannot be converted barrier-free, an old university building in Nonntal has been rented on an interim basis since October. As a result of this circumstance, some of the planned main uses are due to the acute shortage of space for the Departments of Voice and Instrumental and Voice Pedagogy. In addition, a rehearsal room is planned for the Opera and Music Theater Department, which has long been fighting for more rehearsal space, as well as classroom space and offices for the Electronic Music Studio. The second major spatial investment will be for (artistic) research - in addition to offices for research management and rooms for research activities, the X-Reality-Lab will be designed as the centerpiece of the new building as a multimedia and digitization lab (MMDL), which will be unique in Austria. MMDL: Austria-wide unique multimedia and digitization lab Variable acoustics, 3D audio and multi-perspective projection form the technical basis of a space that will be used as a kind of meta-instrument for artistic, research and educational purposes. A primary design goal is also to integrate openness into the structural layout of the lab through modularity, in addition to the permanently installed aesthetic tools, in order to be able to respond and address the widest possible range of questions. A particular focus is on exploring the artistic application of virtual/augmented and extended reality technologies. In addition to audiovisual performances or immersive concerts, less time-bound formats such as installations and exhibitions will be developed. In its future-oriented conception, the X-Reality-Lab or MMDL is an expression of the University Mozarteum Salzburg; with transdisciplinarity and transmediality, the Lab also offers an ideal basis for building a culture of digitality at the Salzburg location. Planning & Building Law: Berger+Parkkinen on a plot of land owned by the City of Salzburg The architectural firm Berger+Parkkinen, which also designed the Paracelsus Bad & Kurhaus in the immediate vicinity that will open in 2019, was commissioned with the design and planning of the building on the Kurgarten back in 2016. At that time, two buildings with a maximum height of 17.5 meters (five floors) and 11.5 meters (three floors) were approved by the expert commission for the preservation of the old town; the second building was won over by the Mozarteum University, which was granted a building right at a favorable brewing rate by the city of Salzburg over part of the site. The operator of the joint building rights field is TSG Salzburg. Architecture & Design:  Morphology of the spa garden, accentuation of open spaces The two buildings Paracelsus Bad & Kurhaus and UMAK will form a focal point in the historic core of the city of Salzburg thanks to their clear, identity-creating architectural language. The student use, in conjunction with the streams of visitors to the Bad & Kurhaus, will bring about a sustainable revitalization of the northwestern area in the Kurgarten. In their design, the architects paid particular attention to the morphology of the Kurgarten with its former fortifications and to the accentuation of the open spaces. The fundamental idea of the design is to make it possible to experience the transition from the baroque complex of Mirabell Palace to the Gründerzeit Markus-Sittikus-Strasse. In keeping with its use as a university building, the first floor of the building is open to the public. The architectural heart of the building is the hall with natural skylight that extends to the top floor. The division of the building into two structures allows for the accommodation of the large halls and practice rooms with special room heights. The mighty cantilever of the upper floors above the entrance area emphasizes the importance of the square in front and provides a view of the neighboring Paracelsus Bad & Kurhaus. The façade system of the UMAK also consists of curtain-type ceramic façade panels to emphasize the ensemble effect. In contrast to the façade at the baths, however, a closed, rear-ventilated ceramic façade is used for the UMAK. The ceramic lamellas of the bathhouse are quoted in material, color and proportion. However, these are closed at the UMAK; only the large glazing of the ensemble rooms are protected from solar radiation by fixed vertical lamellas.  The location: In the immediate vicinity of the main building at Mirabellplatz 1 The fundamental considerations for the integration of the Mozarteum University at the Kurgarten into the urban space go beyond the boundaries of the site and consider the potential of the entire area of the inner-city parks Kurgarten, Zwergerlgarten and Mirabellgarten, at the southwest end of which the main building of the Mozarteum University is situated. The UMAK is part of an urban design that strives to interweave the heterogeneous structures from the Baroque, Wilhelminian and 20th centuries as well as to mediate between the Kurgarten and the streets. To this end, the UMAK is divided into two structures that mediate in cascading height and size between the closed development on Auerspergstraße and the open structure on Schwarzstraße. The new building, like the Paracelsus Bad & Kurhaus, is accessed from the new entrance square located at the corner of Schwarzstraße and Auerspergstraße.  Despite complex technical requirements for the building, attention was paid during the planning to sustainable flexibility in the use of the building to allow for later "shifts" in terms of occupation of the space. In addition, the pronounced compactness of the two structures with their favorable envelope area ratio supports the sustainability of the new building in thermal terms. Also important in the planning was a sensual impression through form and materials in harmonious correspondence with the Paracelsus Baths as well as an attractive conclusion of the Mirabell Gardens.   In the picture from left to right: Gregor Faistauer (Managing Director Bachchor), Johannes Feigl (President Bachchor), Mayor Harald Preuner, Rector Elisabeth Gutjahr, Provincial Governor Wilfried Haslauer, Provincial Councilor Andrea Klambauer, Architect Alfred Berger (Berger+Parkkinen)     © Christian Schneider

With the new building of the Mozarteum University at the Kurgarten (UMAK), the city of Salzburg, the cultural area around the Mirabell Gardens and the Paracelsus Baths get a new player and neighbor. The official laying of the foundation stone on February 27, 2023 at 11 a.m. initiated the implementation of a future-oriented project that invests in the university education and research location Salzburg, in the networking of science and art and in Salzburg's core competence in the field of culture.

The Moz-Art-Zone is the University Mozarteum's outreach program for children and young people, offering a broad spectrum of events in all areas of art - excitingly conceived programs are designed to inspire and excite in the long term, but also to promote exchange between students and young artists.

Lektor for musical composition

Senior Lecturer for Dance

Contract teacher for Elemental Music & Dance Education

Senior Lecturer

Senior Lecturer

Orff's 125th birthday, the 100th anniversary of Wilhelm Keller, and the 60th anniversary of the Orff Institute provide an opportunity in 2021 - one year late due to corona - to illuminate Carl Orff's pioneering work from an artistic and scholarly perspective.

Univ.-Prof. of Elemental Music & Dance Education

In a cross-generational project, the students of the Orff Institute developed a lively network of shared experiences together with students and teachers of the elementary school Aigen, the association Orchesterprojekt, the percussionist Gerhard Laber, the composer Angelà Tröndle, and the dancers Martha Prosser and Alexandra Eibner.

2020 marked the 125th anniversary of the birth of Carl Orff (10.7.1895-29.3.1982). His stage work "Carmina Burana" is internationally known as well as his approach to music education and the percussion instruments named after him. His concept of elementary music is about initiating creative music making from the beginning and thinking musical learning from improvisation.

The University Mozarteum will conclude the three major anniversaries of the Orff Year with an extensive festive weekend from July 2 to 4, 2021. The ceremony on Friday will focus on the possibilities opened up by inter- and transdisciplinary approaches in artistic, pedagogical and scientific contexts.

Pandora Part I - Her of Tomorrow is an intergenerational dance and music project developed together with the community of the Volksschule Aigen, the Orchesterprojekt Salzburg, the Orff-Institut and freelance artists*. Pandora Part II - Artificial Cataclysm is a dance theater piece that portrays single individuals and connects them through a series of tragedies.

Starting in the winter semester 2022/23, the one-year university course "Music and Dance in Social Work and Integrative Pedagogy" will be offered again and is aimed at pedagogues of all disciplines as well as musicians who are interested in the use of music and dance in social work and integrative, inclusive pedagogy. Part-time, it offers participants an expansion of their professional qualifications.

News … Home News Agnes Kern Agnes Kern - Music & dance teacher 01.11.2023 Alumnae & Alumni Stories Iris Wagner © Orff-Institut Agnes Kern - Music & dance teacher Graz hat do you do for a living? What does your "everyday working life" look like? I studied music and dance education with a focus on social work and integrative education at the Orff Institute. Fortunately, I got a job at the College for Social Pedagogy in Graz straight after my studies. I was lucky that the director was not looking for conventional school musicians. The Orff Institute is well-known and the holistic method was preferred. I started with the subjects of music education and rhythmic-musical education. I now also give instrumental lessons with guitar, i.e. small group lessons. With the college, I have found a field of work that absolutely emphasizes the artistic-creative orientation. The focus is just as practice-oriented as it is musically creative. These two components are the core elements, with a lot of handicrafts, visual education and musical subjects. I was welcomed with open arms, was able to get involved and was allowed to work freely. I really have the feeling that I can continue what I already enjoyed during my studies. What is the best thing about your job? What opportunities does it open up? I particularly like the integrative approach. Not having to choose between instrument and dance or artistic areas, I liked the holistic approach. I didn't even know that the Orff Institute existed until I was 18 or 19. When I came across it, I was thrilled! The movement, the dance, the stage, performance and the music of course - being able to integrate all of that is great. I also had the feeling that this was important to my colleagues, even though they were all looking for their own niche. I recently met my fellow students in Salzburg (laughs). I was certainly one of those who specifically sought out the integrating and connecting aspects. I was passionate about interdisciplinary areas and interdisciplinary projects. That appealed to me back then and it's exactly what I appreciate so much about my current job. Just yesterday we had project presentations at the college with insanely creative ideas. We go out and work with underage refugees, but also with senior citizens. It's a wide and wonderful range. Which groups of people do you teach? My students are prospective teachers aged 18 and over. However, we also have older students on part-time courses and a day college. Our college now offers two courses, namely elementary education and social pedagogy. In elementary education, graduates work in crèches and kindergartens. Graduates in social pedagogy use their training to work in a broad spectrum of social pedagogy, in child and youth care facilities, with people with disabilities and in employment support projects. What do art, music and dance mean to you? These subjects are of central importance to me. I am always very sad when the artistic-creative subjects are dismissed as marginal subjects or even dispensable appendages. Unfortunately, I am currently experiencing this at my daughter's primary school. In the creative arts lies this creative power that we need for all areas of our lives. I keep realizing how much it is missing when someone doesn't have this integrating insight. This became even clearer during corona. I see it as a huge task to bring sensitivity into the classroom. Digitalization means the need is even greater. When people talk about supposed media literacy, it is usually not about the competent use of media, but about the consumption of media and here we should actually return to the musical-creative, to the ability to perceive. It's about questions like: What happens in the real world and what happens in the digital world? When is it better to switch off the screen? What defines me as a person? What is my social interaction ability, my expression? The musical aspect is intended to meet the sensual need for expression that all people have. It is also about topics such as resilience, coping with stress, balance and a fulfilling everyday life. What challenges do (young) artists face in your field? Our field is still struggling for recognition, not least financial recognition. We are a niche program in Austria and our work is unfortunately not adequately remunerated. We have to complete the same length of training as other educators and yet we are not paid the same. There are inequalities here. In my personal professional work, I have experienced a great deal of appreciation and gratitude, but this is not reflected financially. In addition, we are not allowed to teach at all schools, such as elementary school. However, this problem also exists with other music education courses. Young music and dance teachers also have to come to terms with what it means to "work as a teacher" and in which regulated fields the profession also works. A classic area is the music school and it depends in which environment you end up. There are very good music schools that show appreciation and also pay well. Unfortunately, there are also those that differentiate between "first lessons" and "real music lessons" and show less appreciation for our area. Pure group lessons are also very strenuous and difficult to cope with in the long term. In any case, there is a broad field. Working in teacher training, in my case in the field of social and elementary education, is a great opportunity and I find it very exciting. I have the feeling that I can pass something on. Ultimately, we train multipliers. What was your experience of training at the Orff Institute? I was lucky enough to be able to take a lot with me. The instrumental lessons, the individual lessons and the voice training were important for me. The additional instrument, dance, yoga and Feldenkrais courses were particularly valuable. As already mentioned, the interdisciplinary projects played a special role for me. It was often a balancing act between lots of fresh input from outside and the core disciplines. In addition, the social component of our work was very valuable - creating something together, experiencing how the different skills and approaches of the participants can intertwine in a creative design process and opening up paths in this process that you would never have discovered on your own. The experience of being able to try things out within a wide creative scope was wonderful. Finally, the very broad-based internship groups at the Orff Institute were also a great resource. What advice would you like to give young creative people? I still see this course of study as a great opportunity and I think it's great that this professional field exists, that it can continue to expand and establish itself. For me, it is a great playing field to live out my own creativity and enthusiasm. Last but not least, working together with other people and the educational aspect are wonderful. I can remember my fellow students saying that they no longer had any hobbies, because all their hobbies had become professions (laughs). That is a great gift. Studying and having a job where you can do things you like is a gift. What would you like to see in the future, apart from greater recognition of your subject? Greater visibility of this diverse course of study in all its breadth. I feel lucky to be able to live like this and hope that the course will continue to exist in this way. Weitere Alumni Stories 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 A passionate (folk) music educator - Rupert Pföß 17.3.2025 A passionate (folk) music educator - Rupert Pföß  Alumnus Rupert Pföß has been working as a music teacher at Musikum Salzburg since 1996 and has been head of the folk music and harmonica department since 2012. He is also an extended board member of the Salzburger Volksliedwerk. His busy seminar and jury activities at various music weeks and music competitions enrich his everyday life as a musician time and again.  Alumnae & Alumni Stories From Kiev to Salzburg - Sofiia Musina 20.11.2024 From Kiev to Salzburg - Sofiia Musina  The flutist and instrumental music teacher Sofiia Musina came to Salzburg to study at the Mozarteum University in April 2022. From 2017 to 2022, she studied at the Borys Grinchenko Kyiv University in Ukraine and obtained a Master's degree in ‘Master of Musical Art. Educational and Professional Programme: Musical Art’. She wrote her master's thesis on the Ukrainian composer Myroslav Skoryk. Alumnae & Alumni Stories Art will always be there, even in the most difficult times - Meral Guneyman 5.11.2024 Art will always be there, even in the most difficult times - Meral Guneyman  Meral Guneyman is a versatile classical musician, with numerous releases, who is comfortable in both pop and jazz music, has transcribed many original works and is also an enthusiastic arranger and improviser. Her ability to move between classical and jazz with lightning speed and conviction is a rarity. In 2021, her arrangements of classic David Bowie songs were presented for the first time on ‘Steinway-Spirio’ - a high-resolution self-playing system of the highest quality. Alumnae & Alumni Stories