Clemens Kreutzfeldt, MA
Projektmitarbeiter Musical Crossroads

Zimmer LS 03 04
Lothringerstraße 18/III, A-1030 Wien



Curriculum vitae

Clemens Kreutzfeldt graduated in 2012 with a bachelor's degree in music, art and media at the University of Oldenburg. This was followed by study at Kingston University, London. In 2013-2016, he studied musicology with a focus on the cultural history of music (Master of Arts), as well as music and art education (Master of Education) at the University of Oldenburg. He graduated with a thesis on the British composer, pianist, and founding member of the Royal Philharmonic Society, Charles Neate (1784-1877), and his music-cultural activities. In 2016-2018, he was a research associate in the project “Musical Competitions: Framework and Database (1766-1870)” funded by the German Research Foundation (DFG) at the Institute of Musicology, University of Cologne (project leader: Professor Frank Hentschel). Since 2019, he is a Ph.D. candidate and research associate in the project “Musical Crossroads: Transatlantic Cultural Exchange 1800-1950” at the University of Music and Performing Arts Vienna, which is led by Professor Melanie Unseld and funded by the Austrian Science Fund (FWF). The working title of his dissertation is “Music Trade in Antebellum Boston. Spaces of Transatlantic Exchange”.

Research interests

  • 19th century North American music culture with an emphasis on music trade
  • 19th century musical competitions
  • early 19th century English music culture
  • c. 1800 English musical salon culture


Most recent


  • Zwischen Kommerzialität und Kunstideal: einem New Yorker Kompositionswettbewerb zur Mitte des 19. Jahrhunderts auf der Spur, in Die Tonkunst (3/2021), (in press).
  • Musikwettbewerbe im 19. Jahrhundert (Foreword as initiators of the theme issue), (Together with Carola Bebermeier, Christoph Müller-Oberhäuser and Jonas Traudes), in Die Tonkunst (3/2021), (in press).
  • 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 [Musik in Innenräumen. Genderperspektiven auf eine soziale und ästhetische Praxis], Sabine Meine (ed.), in preparation.
  • 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

  • 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 (sopano) and Elisabeth Reda (piano)), international conference: The European Salon: Nineteenth-Century ‚Salonmusik‘, Maynooth University, Ireland, 02.10.–04.10.2015.

Organized Conferences/Workshops

  • 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.


  • Music related competitons 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.).


  • „Musical Crossroads. 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 PhD-Project

My dissertation “Music Trade in Antebellum Boston: Spaces of Transatlantic Exchange” examines the Boston music trade between 1800 and 1860 as a space of transatlantic cultural transfer processes. The flourishing music market of that period reflects the musical and cultural life of the Atlantic metropolis and its transformations. It mirrors the economic, social and political developments, as well as the conditions of American musical culture. Significant influences on cultural life stemmed from the (crisis-related) migration from Europe as well as from an advancing industrial revolution, which increasingly eased mobility between the two continents.

The business model of Boston's music dealers of that time often included not only the mere buying, stocking, and selling of printed material, but also publishing activities, or the trade and production of instruments. In addition, their business premises functioned as social places where professional musicians and amateurs met and engaged in conversation. Information about upcoming concerts was distributed, concert tickets were sold and subscription lists were laid out. Furthermore, recommendations for suitable instrumental or singing teachers could be obtained. These multifaceted fields of activities were a requirement for a thriving business, and they made the music stores an elementary part of musical life. Thereby, music dealers were networkers par excellence and familiar with the European music culture and its actors. Many had practical experience and musical skills, acquired on both sides of the Atlantic, which had a crucial influence on their fields of activity in the music trade.

Their experiences resulted in the expansion of transatlantic trading spaces and the transfer of material goods such as printed music, instruments, or music-related literature, and they also shaped the social practices in their business premises. Boston music dealers were indispensable contacts for European musicians, who increasingly traveled to or immigrated to North America as it gained in economic attractiveness during this period. For these musicians, music dealers fulfilled important networking functions by having the necessary local connections to musicians, concert institutions or the music press. In fact, it was not uncommon for music dealers to act as managers for the concert activities of European musicians in the USA. Transatlantic transfer processes also found representations in their publishing activities. For example, music dealers followed the successes of traveling virtuosos in their publications; they advertised sheet music with information referring to European performance contexts, dedicatees or famous performers; last but not least, they considered the production of pirate copies as a possibility and necessity for their economic activities. The influence of music dealers on the repertoire of public concert life, as well as on the flourishing domestic music culture in North America, should not be underestimated. Their influence also raises questions regarding balancing processes between an awareness of a cultural mission and pure commerce.

J. H. Bufford's Lith. "Russel & Richardson, Music Store, Foreign & American, 291 Washington Street, Boston." Print. 1856. Digital Commonwealth, (accessed January 26, 2021).