By allowing research to re-create the biotope of past creativity, we can increase understanding and appreciation of unfamiliar repertoire among artists and audiences.

Since posting this article six years ago, the discovery of Hans Gál has carried on at such a pace, that an update is required, demanding a broader focus than his opera Die heilige… Continue reading →

Politics and the arts – what might it mean for the next decade?

This is a paper I was invited to give in Brussles earlier this month as part of a conference organised by “Forum Voix Etouffées” The destruction of Habsburg Austria would result in an… Continue reading →

With May 2019, exil.arte came into its third year, following its official public opening two years ago. I’ve already documented exil.arte with three previous article: The first was when we were given the… Continue reading →

“Jewish Destiny” is the English translation of “Jüdisches Schicksal”, which in turn was the title of a large oratorio written by Richard Fuchs. We’ll come to this work later, though I have already… Continue reading →

There is another important element that illustrates “inner return”: it’s the concept of “return”, when composers prominent as pre-war modernists return to old-fashioned concepts such as symphonies, sonatas and string quartets. Of these… Continue reading →

This entry represents an intermezzo between my articles on the music of exile and the music of “Inner return”. I’ve changed my Facebook profile picture to that of an urban stairwell. After 15… Continue reading →

Apologies are due for having neglected this blog for so many months.  There has been an inordinate amount of activity at the exil.arte Centre with acquisitions of several important estates, a symposium which… Continue reading →

As the old year closes and a new one starts, I look back at the progress that our exil.arte Centre has made and find myself acknowledging that having come a long way, we… Continue reading →