It all began with Schoenberg...

In 1906 Schoenberg composed his Chamber Symphony op. 9 for 15 musicians. He had consciously been in search of a new form between chamber and symphonic dimensions. And so he wrote for a symphony orchestra without the bombast of a large group, a chamber music ensemble consisting of all the important orchestral instruments, an ensemble of soloists. Schoenberg's Chamber Symphony inspired many works with a similar scoring from other important composers. However, there were no corresponding chamber ensembles. The works were performed by existing orchestras or ad hoc groups, mostly without sufficient rehearsal time.

It was only in the Seventies that the situation changed. Genuine soloist ensembles were founded: the London Sinfonietta in England, the Ensemble InterContemporain in Paris, and in Germany the Ensemble Modern.

It was no coincidence that the Schoenberg Chamber Symphony featured on the programme of Ensemble Modern's first concert at Cologne German Radio. It marked the beginning and the programmatic starting point of the group. Since then, the performance of works of the Second Viennese School (Schoenberg, Webern, Berg) and other important composers of the first half of the century (e.g. Stravinsky, Varèse, Ives, Weill) is a basic and firm dimension of the programming of Ensemble Modern. The Anton Webern project in 1983 set the precedent, and in the first few years other themes and accents soon began to form through the programme planning. More of that later.

Foundation and Principles

The impetus for the foundation of the Ensemble came in 1980, when certain members of the Junge Deutsche Philharmonie (German Youth Orchestra) wanted to concentrate more completely on the interpretation of works of this century. There were other forces at work of course, from the Society for New Music (the German branch of the IGNM/ISCM), which paved the way for the first public concerts, or from the GEMA Foundation (e.g. Michael Karbaum), which laid the first and lasting financial foundations. Many deserve mention here, but particularly Karsten Witt, who guided the Ensemble through its first ten years with courage and skill.

Upon its foundation and during the first years the Ensemble was managed by the Junge Deutsche Philharmonie. A common and guiding principle, one held to this day, is that of self-determination. In contrast to hierarchically organized orchestras, the musicians themselves make the decisions about necessary artistic matters, performance venues, programmes, conductors and media questions. As a result, in 1987 the Ensemble Modern formed itself into a "Gesellschaft buergerlichen Rechts", a democratic legal arrangement by which the Ensemble belongs to the musicians themselves. In this way they have all rights and privileges, but also carry the not inconsiderable financial risk.

The Ensemble deliberately chooses not to have a regular conductor or music director. This would be detrimental to a desire for the greatest possible openness to different concepts and styles, as well as to the principle of thinking first about the programme, and then about the best way of realization. Nevertheless, over the years a circle of regularly invited conductors has developed, among them Peter Eotvos, Heinz Holliger, Ingo Metzmacher, Jonathan Nott, Lothar Zagrosek and Hans Zender.

Friends and Finances

Since 1985, Frankfurt am Main has been the home of the Ensemble Modern, where it enjoys extremely favorable working conditions under the auspices of the Deutsche Ensemble Akademie. The City of Frankfurt, the State of Hessia, the federal government, the GEMA foundation and other valued friends assure its financial basis which, however, covers only 25% of the yearly expenses. More than three quarters of the funding must be raised by concerts and media productions. (In comparison, state subsidies cover over 80% of the costs of most public orchestras.) No easy task in view of the fact that contemporary music is considered difficult and indeed inaccessible for many listeners. It is not without pride that, despite these hurdles, the Ensemble continues to succeed in tackling innovative and costly projects.

Each year, Ensemble Modern gives approximately 100 concerts worldwide. It consists of 21 permanent members from eight different countries who now make their home in Frankfurt - when they are not on tour. According to the instrumentation requirements of the chosen programmes, guest musicians regularly join Ensemble members, working closely together with them. In this way Ensemble Modern remains flexible, able to bring into being the most variable programme ideas: from chamber music to (on occasion) the large orchestral formations which are required for example in Luigi Nono's late works.

Steady Progress and Deliberate Emphases

The first performance of the complete works of Anton Webern in Berlin, Frankfurt and the Cologne area in 1983 was the turning point after which Ensemble Modern attracted first national and then international attention. Fittingly, this project was carried out with the participation of the Junge Deutsche Philharmonie. It performed the works for large orchestra. Soon afterwards there were enough concert engagements to fill the year. For the first time, the musicians were able to pay themselves a modest fee.

Firm ties were developed with the Alte Oper in Frankfurt, the Frankfurt and Berlin Festivals, the Cologne Philharmonie and, later, the Festival d'Automne in Paris and the Wiener Konzerthaus in Vienna. Most of the larger projects which have made the name of Ensemble Modern well-known originated at these performance venues: the first concerts putting live music to silent movies, ballet and music theatre productions, Luigi Nono's 'Prometeo' (tragedia dell' ascolto) which was first performed in Berlin, Frankfurt and Paris in 1987/8, and caused a sensation at the 1993 Salzburg Festival, then more recently, the 1992 Yellow Shark project with Frank Zappa, and extensive work with the music of Edgard Varèse, incorporating the 1994 film by video artist Bill Viola, created to the music of 'Déserts'.

These venues have been reliable supporters of the Ensemble's work over the years. The Ensemble has subscription series in Frankfurt, Berlin and Vienna, and indeed in Frankfurt there is a second series running alongside the concerts at the Alte Oper. Having originated at the Frankfurt Opera, the 'Happy New Ears' series (title from John Cage) now takes place at the Theater am Turm. At each event, a master composition of the twentieth century is presented in a public rehearsal, discussed, examined and illuminated, and performed in its entirety at the end of the evening.

Variety of styles and overlapping of genres is characteristic of Ensemble Modern's programming. One example of many is the monodrama 'Kassandra' by composer Michael Jarrell, based on the text by Christa Wolf. Performed by the actress Anne Bennent, and directed by Anne Bennent and Christoph Marthaler, this piece has become part of the Ensemble's repertoire. Another example is the interest the Ensemble takes in musicians and composers in the field of Jazz. And more in the Rock area, Mark Anthony Turnage's 'Blood on the Floor', premiered at the Queen Elizabeth Hall in London, (featuring John Scofield, Peter Erskine and Martin Robertson) and the collaboration with Frank Zappa on the 'Yellow Shark', mentioned above. Collaborations with such composers as Luigi Nono (until his death), Karlheinz Stockhausen, György Ligeti and Helmut Lachenmann are a matter of course, as is involvement with the music of John Cage. Another focus point is the constant search for new ideas, especially those of young composers.

The Ensemble tries not so much to present as many young composers as possible to the public, but seeks rather to encourage a select few on their way, and to perform their works more consistently. As an example, the close collaboration with Heiner Goebbels resulted from this process, work which explores the borders between experimental/improvisational music and so-called New Music.

In Fall 1998 the Ensemble Modern Orchestra gets founded as the worlds first orchestra for Contemporary Music. Heart of the orchestra are the soloists of the Ensemble Modern, enforced by a circle of musicians from all over Europe. The Ensemble Modern Orchestra does about two tours a year; among its conductors are Peter Eötvös, John Adams, George Benjamin, Ingo Metzmacher and Pierre Boulez.

In 1999 the Ensemble Modern produces a CD version of the Threepenny Opera under the baton of HK Gruber, based upon the version of the Kurt-Weill-Foundation's commented release. Vocal soloists are Max Raabe, Nina Hagen and Sona McDonald. The same year brings another collaboration with Bill Viola, the performance of the original version of Antheil's "Ballett Mécanique" as well as a second Ensemble Modern Orchestra tour with John Adams.

In the year 2000 the Ensemble Modern celebrates its 20th anniversary with several events: For the Millenium-Program "Frankfurt 2000" Ensemble Modern and the City of Frankfurt commission 10 ensemble compositions to young composers. This project fulfills a long time wish, as the support of young artists always was one of the Ensemble Modern's main aims. Over a time span of 6 months candidates are selected by the Ensemble Modern's soloists. As typical for the Ensemble the works get studied in close collaboration with the composers. Enno Poppe's "Knochen", which won the first price in the composer's contest of the City of Stuttgart February 2002 and "Vielleicht zunächst wirklich nur" by Johannes Maria Staudt are the first works performed April/May 2000 in Frankfurt, Vienna and Berlin. Further premieres follow in 2001: Markus Hechtle, Brett Dean, Hilda Paredes, and Sebastian Stier; 2002 the Ensemble plays works by Vadim Karassikov and Rebecca Saunders and in 2003 works by Sandeep Bhagwati und Charlotte Seither.

From August, 10 to September 10, 2000 the Schirn-Kunsthalle features the sound exhibition "Welt erzeugt Klang - 20 Jahre Ensemble Modern". The Ensemble Modern presents itself in a typical way: center of the exhibition is the sound installation "Twenty Cuts" by Frankfurt radio play author Christoph Martin - a collage created from 20 compositions of the 20th century, demonstrating some of the Ensemble's abilities. Similar to the Ensemble's cross-genre productions which expand the dimensions of the classical concert house, the exhibition space is transformed for a variety of events to allow a stage and audience. During the exhibition several concerts, talks and video screenings take place. Both the exhibition and the performances get visited by a large, enthusiastic Frankfurt audience.

Highlight of the festivities is the jubilee concert in the Alte Oper on November 29, 2000, when the Ensemble Modern performs its second Frank-Zappa-program "Greggery Peccary & Other Persuasions" under the baton of Peter Eötvös. This concert is the sequel to the legendary Yellow-Shark-concert (1992). Thanks to the intense collaboration with Frank Zappa until short before his death, the Ensemble Modern sort of became his last band. The composer Ali Askin, who already did the arrangements for the Yellow-Shark-programmes in close collaboration with Frank Zappa, did the scores for Greggery Peccary & Other Persuasions. For the Ensemble he instrumented partially unpublished vocals, score parts and synklavier compositions from Zappa's heritage, which were provided by Gail Zappa, the composer's widow. In 2003 the CD is released by RCA/BMG

In 2001 the Ensemble Modern realizes two programs together with the Freiburger Barockorchester and the Collegium Vocale Gent, in which old and new music are confronted with one another. The concert program in February presents compositions by J.S. Bach, Anton Webern, Jan Dismas Zelenka, Mark Anthony Turnage and Györgi Ligeti; in April compositions by Heinrich Schütz and Igor Stravinsky are performed. Both programs offer the chance to deal with the phenomenon 'time'.

Opera and Music Theater

On March 14, 1996 the premiere of the music theater project "Black on White" takes place at the TAT im Bockenheimer Depot in Frankfurt. It is a huge success with critics and audience alike. Since then it has been performed 56 times in Europe, 3 times in Australia at the Adelaide Festival and 3 times in New York. The premiere of Eislermaterial on May 23, 1998 in the Muffathalle Munich is another highlight in the Ensemble Modern's collaboration with Heiner Goebbels. Eislermaterial is a staged concert, a musical Eisler portrait with intense light design and a strong atmosphere. Following tone documents which feature the late Hanns Eisler as interpretor of his own works, the actor Josef Bierbichler performs a number of Eisler's songs. Meanwhile Eislermaterial, acclaimed by critics and audience alike, has been performed about 20 times all over Europe.

In their continuous efforts to support young artists, the Ensemble Modern organizes a composer's workshop in 2001 together with the Oper Frankfurt. 5 short operas by young composers are studied and premiered end of June 2001 in the TAT im Bockenheimer Depot in Frankfurt.

After the big success of the opera "Die Blinden" by Beat Furrer and "Wolf Cup Village" by Guo Wenjing in June 2000 in the Bockenheimer Depot, the Ensemble Modern premieres the complete version of the opera "Ye Yan / The Night Banquet" (1999) by the Chinese composer in late summer 2001 at the Festival d'Automne in Paris. In 2002 this work will be performed in Perth/Australia (Mandurah International Opera Festival - upon initiative of Perth International Arts Festival), at the Lincoln Center Festival in New York and at the Hebbel-Theater Berlin.

An overwhelming success is the Ensemble Modern's concert version of the Threepenny opera (based upon the version released in the complete works), which contains formerly unknown interludes. In 2000 the Threepenny opera is played all over Europe - from London via Wiesbaden to Kiel at the Schleswig-Holstein Musik Festival. In November 2002 further performances will be given in Cologne, Frankfurt, Dortmund and Baden-Baden.

In May 2002 the new video opera Three Tales by Steve Reich [music] and Beryl Korot [video] will be premiered at the Wiener Festwochen. A large Europe tour to England, Netherlands, Italy, France, Germany and Portugal will follow, lasting until November 2002.

Tours, CDs and Visual Media

As early as 1984, Ensemble Modern was invited to tour Latin America, then again in 1992. In 1990 came performances in Russia, followed in 1995 by a tour of many Eastern European countries, and a second Russian tour. In addition to regular concert appearances in Europe, the Ensemble made its first and highly successful tour of North America in 1996, with concerts in, among others, New York, Chicago and Washington D.C., and also visited Australia for the first time. Two Japan tours followed in 1998 and 2000.

Concert were and will remain the most important part of the Ensemble's work. Nowhere else is the communication with the audience and the test of ones own work as intense, can praise and criticism be experienced as directly. Nonetheless does the Ensemble Modern document its work more and more by CD and TV productions. This way important projects can be made available to a larger range of interested persons; projects such as the Kurt Weill and Charles Ives portraits, Conlon Nancarrow's fascinating studies, Nono's "Prometeo" or Zappa's "The Yellow Shark" and Heiner Goebbels' "Black on White", which also was released on video. End of 2000 already more than 30 CDs of the Ensemble Modern have been published, all of them recorded after 1990. More are planned or in production. Thanks to the collaboration with labels like RCA/BMG, EMI, Sony, Winter & Winter and ECM a worldwide distribution is guaranteed. Since Spring 2000 the Ensemble Modern also has its own label - EMCD - under which two CDs were published: Charles Ives' "Fourth Symphony" and George Benjamin's "Sudden Time".

Diverse TV projects were produced and broadcast. For example the Ensemble Modern's portrait by the Hessischer Rundfunk titled "Frankfurt Modern", the film/video-production of the music theatre project "Black on White", directed by Manfred Waffender and Heiner Goebbels, which was broadcast by arte in June 1997, the TV recording of Jarrell's monodram "Kassandra" and a recording of Turnage's "Blood on the Floor".

The Future

The headline for the Ensemble Modern's year 2002 reads "music theatre". Next to "Ye Yan", "Three Tales" and the "Threepenny Opera" Salvatore Scirrino's "Macbeth" is planned and in September 2002 Heiner Goebbels' new music theatre piece will be premiered in Geneva.

Furthermore the 50th birthdays of Wolfgang Rihm and Heiner Goebbels will be celebrated. "Jagden und Formen" will be released on CD by Deutsche Grammophon, conducted by Dominique My. And even more CDs are planned at ECM: "Eislermaterial" by Heiner Goebbels and a Helmut Lachenmann portrait CD.
The Ensemble has been invited to several festivals: the Hamburger Musikfest, the Schleswig-Holstein Musik Festival and - for the first time - to the Rheingau Musik Festival.

Many discoveries are at hand, the Ensemble Modern stays curious and open to all sides!