Clemens Kreutzfeldt, PhD

Projektmitarbeiter

Musikerfamilien: Konstellationen und Konzepte

Zimmer LS 03 08
Lothringerstraße 18/III, A-1030 Wien

+43 1 71155 3555

kreutzfeldt@mdw.ac.at

Curriculum vitae

Clemens Kreutzfeldt is a musicologist and post-doctoral researcher at the University of Music and Performing Arts Vienna, working within the Austrian Science Fund (FWF) project “Musician Families: Constellations and Conceptions”. He completed his PhD at the same institution with the dissertation “Music Trade in Antebellum Boston: Spaces of Transatlantic Exchange”, developed in the context of the FWF-funded project “Musical Crossroads: Transatlantic Cultural Exchange 1800–1950”, led by Professor Melanie Unseld. Previously, he worked at the Institute of Musicology, University of Cologne, contributing to the DFG-funded project “Musical Competitions: Framework and Database”, led by Professor Frank Hentschel. He studied Music, Art and Media at the University of Oldenburg and spent part of his education at Kingston University London. He holds a Master of Arts, with a focus on the cultural history of music, and a Master of Education in Music and Art. His MA thesis explored the British composer and pianist Charles Neate, a founding member of the Royal Philharmonic Society.

Research interests

  • 19th Century Music Culture with an emphasis on England and the USA
  • Music Trade
  • Musician Families
  • Musical Competitions
  • Music and Visual Culture
  • Theories of Cultural Mobility

 

Publications

Edited Volumes

Monographs

Articles

  • Music Across the Ocean. Eine theoretisch-methodische Navigationshilfe (together with Carola Bebermeier and Melanie Unseld), in Music Across the Ocean – Kulturelle Mobilität im transatlantischen Raum, 1800–1950, Carola Bebermeier, Clemens Kreutzfeldt and Melanie Unseld (eds.), Bielefeld 2024, pp. 27–47.
  • “the first statue of art in this country“ – Das Bostoner Beethovenfest 1856. Transatlantischer Transfer von Erinnerungspraktiken, in Music Across the Ocean – Kulturelle Mobilität im transatlantischen Raum, 1800–1950, Carola Bebermeier, Clemens Kreutzfeldt and Melanie Unseld (eds.), Bielefeld 2024, pp. 101–123.
  • Musikalienhandel in Antebellum Boston: Räume des transatlantischen Austauschs. Dokumentation einer Ausstellung, in Music Across the Ocean – Kulturelle Mobilität im transatlantischen Raum, 1800–1950, Carola Bebermeier, Clemens Kreutzfeldt and Melanie Unseld (eds.), Bielefeld 2024, pp. 171–205.
  • Zwischen Kommerzialität und Kunstideal: einem New Yorker Kompositionswettbewerb zur Mitte des 19. Jahrhunderts auf der Spur, in Musikwettbewerbe im 19. Jahrhundert, Die Tonkunst (2/2021), pp. 261–272.
  • Musikwettbewerbe im 19. Jahrhundert (Foreword as initiators of the theme issue), (Together with Carola Bebermeier, Christoph Müller-Oberhäuser and Jonas Traudes), in Musikwettbewerbe im 19. Jahrhundert, Die Tonkunst (2/2021), pp. 246–247.
  • „Die Kunst floh scheu vor rohen Krieges-Scenen“. Zwei Wiener Theaterbesucher in Zeiten französischer Belagerung, in BEETHOVEN.AN.DENKEN. Das Theater an der Wien als Erinnerungsort, Julia Ackermann and Melanie Unseld (eds.), (Wien: Böhlau 2020), pp. 95–108.
  • Die Musikalienhandlung als Raum des transatlantischen Austauschs. Nathan Richardson (1827–1859) und der Musical Exchange in Boston, in Die Tonkunst (4/2019), pp. 442–450.
  • Musikalische Preisausschreiben im 19. Jahrhundert: Ein historischer Grundriss, (together with Carola Bebermeier and Jonas Traudes), Frank Hentschel and Andreas Domann (eds.), (Universität zu Köln 2020).
  • Musical Crossroads. Europäisch-amerikanischer Kulturaustausch in der Musikalienhandlung von Nathan Richardson (1827–1859) und im Musiksalon von Clara Kathleen Rogers (1844–1931) in Boston, (together with Carola Bebermeier), in Klingende Innenräume: Gender Perspektiven auf eine ästhetische und soziale Praxis im Privaten, Sabine Meine and Henrike Rost (eds.), pp. 219–232.
  • Observing Musical Salon Culture in England c. 1800 through the Lens of the Caricature, (together with Maren Bagge), in Musical Salon Culture in the Long Nineteenth Century, Anja Bunzel and Natasha Loges (eds.), (Woodbridge: Boydell & Brewer 2019), pp. 95–108.
  • “Whilst snug in our Club-room...“ – Die Anacreontic Society: Englische Musikvereinskultur aus der Perspektive James Gillrays, in „Delights of Harmony“ – James Gillray als Karikaturist der englischen Musikkultur um 1800, Melanie Unseld (ed.), (Köln/Wien: Böhlau 2017), pp. 89–108.
  • Musikkulturelle Salonpraktiken im Spiegelbild englischer Karikaturen, (together with Maren Bagge), in Zirkulation von Nachrichten und Waren: Stadtleben, Medien und Konsum im 19. Jahrhundert, Anna Ananieva (ed.), (Tübingen: Tübingen University Press 2016), pp. 59–65.

 

Conference Talks

  • Musikalienhandel in Antebellum Boston: Räume des transatlantischen Austauschs, Guest Lecture: Institut für Musikinformatik und Musikwissenschaft, Hochschule für Musik Karlsruhe, Germany, 15.01.2025.
  • Gottlieb Graupner: A Transatlantic Musical Entrepreneur in Early 19th Century Boston, 7th Sibelius Academy Symposium on Music History: Musica Mercata, University of the Arts Helsinki, Finland, 05.06.–07.06.2024.
  • How does music culture find its way into the archive? The characteristics of musician families and their Archives, (together with Julia Ackermann), international conference: Family Archives and their Afterlives, 1400–present, University of Birmingham, UK, 27.06.–28.06.2023.
  • “the first statue of art in this country” The Boston Beethoven Festival 1856: Transatlantic Transfer of Memory Practices, international and interdisciplinary Conference: Music Across the Ocean: Processes of Cultural Exchange in a Transatlantic Space, 1800–1950, Universität für Musik und darstellende Kunst Wien, Austria, 08.09.–09.09.2022.
  • Museum practices of a 19th century Boston music store: Dimensions of cultural transfer in a Mozart portrait, 20th international Conference of Association RIdIM, Visualizing the Unseen: Music in Visual Culture, University of Applied Sciences and Arts, Lucerne, Switzerland 27.08.–29.08.2021.
  • Music stores in Antebellum Boston as spaces of transatlantic networking, international and interdisciplinary Conference: Musical Networking in the 'Long' 19th Century, Croatian Academy of Sciences and Arts, Zagreb, Croatia, 02.06.–05.06.2021.
  • Antebellum American music stores as pre-institutional spaces? [and] Potential of antebellum binder’s volumes as musicological source material, international workshop: Musical Crossroads, Universität für Musik und darstellende Kunst Wien, Austria, 28.11.–29.11.2019.
  • Musical Competitions in Antebellum New York City, international Conference: Competitions in Nineteenth-Century Music Culture, Universität zu Köln, Germany, 28.06.–29.06.2019.
  • Kultureller Transfer im Bild. Ein Mozart-Portrait aus dem Besitz des Bostoner Musikalienhändlers Nathan Richardson (1827-1859), workshop: Klingende Bildkörper. Performanzen von Musik und Geschlecht in visuellen Kulturen, Hochschule für Musik und Tanz Köln, Germany, 25.04.–26.04.2019.
  • Transatlantische Konvergenzräume. Musikkultureller Austausch Europa-USA (1800–1950), (together with Carola Bebermeier), workshop: Musik in Innenräumen. Genderperspektiven auf eine soziale und ästhetische Praxis, Hochschule für Musik und Tanz Köln, Germany, 13.06.–15.06.2018.
  • Musikalienhandel in Boston in der ersten Hälfte des 19. Jahrhunderts. Räume des transatlantischen Austauschs, international conference: Europäische Netzwerke, Wien/Paris. Regionaler und überregionaler kultureller Transfer 1750–1815, Universität für Musik und darstellende Kunst Wien, Austria, 20.11.–21.11.2017.
  • “Delights of Harmony?” James Gillray as an Observer of Musical Salon Culture in London around 1800, (together with Maren Bagge and Elisabeth Reda), international conference: 16th International Conference Association Répertoire Internationale D'Iconographie Musicale (RIdIM) The Musical Salon in Visual Culture, Rimsky-Korsakov Museum and Apartments, St. Petersburg, Russia, 07.09.–09.09.2016.
  • Englische Salonkultur um 1800: eine Annäherung über klingende Karikaturen (lecture concert together with Maren Bagge, Anastasia Wendler (soprano) and Elisabeth Reda (piano)), international conference: The European Salon: Nineteenth-Century “Salonmusik”, Maynooth University, Ireland, 02.10.–04.10.2015.

 

Organized Conferences/Workshops

  • International and interdisciplinary Conference: Music Across the Ocean: Processes of Cultural Exchange in a Transatlantic Space, 1800–1950, 08.09.–09.09.2022, Universität für Musik und darstellende Kunst Wien, organized together with Carola Bebermeier and Melanie Unseld.
  • International Workshop: Musical Crossroads, 28.11.–29.11.2019, Universität für Musik und darstellende Kunst Wien, organized together with Carola Bebermeier and Melanie Unseld.
  • International Conference: Competitions in Nineteenth-Century Music Culture, 28.06.–29.06.2019, University of Cologne, organized together with Carola Bebermeier, Christoph Müller-Oberhäuser and Jonas Traudes.

Database

  • Music related competitions 1820–1870 on the basis of music periodicals/Musikalische Preisausschreiben 1820–1870 auf Grundlage von Musikperiodika, (together with Carola Bebermeier, Aleksander Marcic and Jonas Traudes), University of Cologne, Frank Hentschel and Andreas Domann (eds.).

 

Science Communication (selection)

  • Music Trade in Antebellum Boston: Spaces of Transatlantic Exchange. An Exhibition, 07.–09.11.2022, Alter Konzertsaal, Universität für Musik und darstellende Kunst Wien.
  • Von Rom-Kantaten, musizierenden Arbeitern und Singvögeln, contribution to the Program Booklet of the International Telekom Beethoven Competition 2017.
  • Musik und Karikaturen: „Delights of Harmony“, Gesprächskonzert zur Musik der englischen Salons des 18. und 19. Jahrhunderts, (together with Maren Bagge, Anastasia Wendler (Soprano) and Elisabeth Reda (Piano), idea: Melanie Unseld), 26.11.2015, Hochschule für Musik, Theater und Medien Hannover and 19.02.2016, Pianoforte-Salon, Piano-Rosenkranz, Oldenburg (upon invitation of the German-British Society). (» NWZ Online)

 

Teaching

  • „Musikkultur und kultureller Austausch in Nordamerika 1800-1950“ (seminar, winter semester 2018/2019, University of Cologne)
  • „Von Romkantaten, Singvögeln und musizierenden Bergarbeitern. Musikalische Preisausschreiben im 19. Jahrhundert“ (seminar, winter semester 2017/2018, University of Cologne)

 

Abstract "Music Trade in Antebellum Boston: Spaces of Transatlantic Exchange"

Music stores were an essential part of the music-related infrastructure in Antebellum Boston (1800–1860). They mirror the musical life of the harbor city of that time and its changes in the context of economic, social, and political developments. At the same time, they reflect the specific conditions of American music culture. Phenomena of transatlantic exchange were ubiquitous here and were taken for granted. This was particularly influenced by (crisis-related) migration from Europe as well as the ongoing industrial revolution, which increasingly accelerated mobility between the continents.

Many music dealers developed business models or branches aligned with their transatlantic scope of action and engaged in activities that went beyond the production and sale of sheet music and instruments. They possessed a wide range of musical educational experiences and often professionalized themselves simultaneously in various (musical) fields. Their careers were frequently transnational and, like many music-related professions of that time, characterized by high mobility. This allowed them to bring music-related knowledge and practical skills they had acquired on both sides of the Atlantic into their profession. For example, they were able to build transatlantic trade relationships. The import of musical goods (sheet music, instruments, and music-related literature) from Europe was an indispensable part of their business.

At the same time, music dealers were creators of spaces where, in addition to material exchange, social (transatlantic) exchange also played an important role. Men and women, professional musicians and amateurs, as well as locals and foreigners, were equally represented here and visited the stores with a wide range of needs. For traveling or emigrating European musicians, music dealers were essential contacts. They acted as valuable intermediaries between the two worlds, as their profession required them to maintain strong networks with the actors and institutions of local music life, while also being well-versed in the music culture of European metropolises. In their intermediary role, they created special offerings for newcomers, such as concert performances in their stores. Moreover, Boston music stores were places where people met and, with a comparative eye on Europe, passionately debated, negotiated, and showcased the ideals and values of American music culture. Some of the music-related activities initiated in these stores developed dynamics of their own, leading to the formation of institutions that extended beyond the physical spaces of the music stores. In short, Boston music stores were multifunctional spaces where nearly everything related to music in an American city was negotiated. 
 

 

J. H. Bufford's Lith. "Russel & Richardson, Music Store, Foreign & American, 291 Washington Street, Boston." Print. 1856. Digital Commonwealth,
https://ark.digitalcommonwealth.org/ark:/50959/8k71nw174 (accessed January 26, 2021).