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ACADEMY SECOND MODERNISM

Vienna is considered the capital of Modernism. However, the great artistic and philosophical upheaval around Schönberg, Freud and Klimt was incomplete: it was euro-centric, male and elitist. Under the patronage of Nuria Schoenberg-Nono, the Academy Second Modernism therefore seeks to globalise Modernism, render it female and take it into our time as a Second Modernism. Each year over a period of five years, the Academy Second Modernism is inviting ten womxn composers to Vienna every year to represent each of Arnold Schoenberg’s fifty female students of composition who were forgotten and never heard. As ambassadors of a globalised modernism, they present their works and develop strategies for visibility together with local and international initiators.

Participating institutions, initiatives and ensembles +++ Opera Ballett Vlaanderen +++ Grand Théâtre de Genève +++ La Monnaie/De Munt +++ Participating institutions, initiatives and ensembles +++ Elbphilharmonie +++ DSO Berlin +++ Tokyo Metropolitan Theatre +++ Participating institutions, initiatives and ensembles +++ African Women's Orchestra +++ Oluzayo Festival +++ Ultima Oslo Contemporary Music Festival +++ Participating institutions, initiatives and ensembles +++ Donaueschinger Musiktage +++ The Icelandic Opera +++ Open Opera Ukraine +++ Participating institutions, initiatives and ensembles +++ Borealis – festival for eksperimentell musikk Norwegen +++ Festival de Automne Paris +++ Swiss Female Composers Festival +++ Participating institutions, initiatives and ensembles +++ Keychange +++ Musikverein Wien +++ Wien Modern +++ Participating institutions, initiatives and ensembles +++ Klangforum Wien +++ Volksoper Wien +++ Archiv Frau und Musik +++ Ensemble Recherche +++ frau*feld +++ D-Arts Participating institutions, initiatives and ensembles +++ Opera Ballett Vlaanderen +++ Grand Théâtre de Genève +++ La Monnaie/De Munt +++ Participating institutions, initiatives and ensembles +++ Elbphilharmonie +++ DSO Berlin +++ Tokyo Metropolitan Theatre +++ Participating institutions, initiatives and ensembles +++ African Women's Orchestra +++ Oluzayo Festival +++ Ultima Oslo Contemporary Music Festival +++ Participating institutions, initiatives and ensembles +++ Donaueschinger Musiktage +++ The Icelandic Opera +++ Open Opera Ukraine +++ Participating institutions, initiatives and ensembles +++ Borealis – festival for eksperimentell musikk Norwegen +++ Festival de Automne Paris +++ Swiss Female Composers Festival +++ Participating institutions, initiatives and ensembles +++ Keychange +++ Musikverein Wien +++ Wien Modern +++ Participating institutions, initiatives and ensembles +++ Klangforum Wien +++ Volksoper Wien +++ Archiv Frau und Musik +++ Ensemble Recherche +++ frau*feld +++ D-Arts Participating institutions, initiatives and ensembles +++ Opera Ballett Vlaanderen +++ Grand Théâtre de Genève +++ La Monnaie/De Munt +++ Participating institutions, initiatives and ensembles +++ Elbphilharmonie +++ DSO Berlin +++ Tokyo Metropolitan Theatre +++ Participating institutions, initiatives and ensembles +++ African Women's Orchestra +++ Oluzayo Festival +++ Ultima Oslo Contemporary Music Festival +++ Participating institutions, initiatives and ensembles +++ Donaueschinger Musiktage +++ The Icelandic Opera +++ Open Opera Ukraine +++ Participating institutions, initiatives and ensembles +++ Borealis – festival for eksperimentell musikk Norwegen +++ Festival de Automne Paris +++ Swiss Female Composers Festival +++ Participating institutions, initiatives and ensembles +++ Keychange +++ Musikverein Wien +++ Wien Modern +++ Participating institutions, initiatives and ensembles +++ Klangforum Wien +++ Volksoper Wien +++ Archiv Frau und Musik +++ Ensemble Recherche +++ frau*feld +++ D-Arts

STRATEGIES OF CHANGE – For greater diversity in the music sector

At the first summit meeting of the Academy Second Modernism as part of the Wiener Festwochen | Freie Republik Wien 2024, over 50 representatives of institutions, composers and initiators drew up a declaration aimed at promoting the necessary structural change with concrete measures – for a music theater and concert practice that is global, diverse and for many.

The New York Times on the Second Modern Academy

© Wiener Festwochen

New members

An increasing number of organizations worldwide are joining the Academy Second Modernism. Among the newest members are the Taiwan Philharmonic and the Iraqi National Symphony Orchestra, warmly welcomed by Milo Rau. Together with Lydia Wenchen Kuo, Managing Director of the Taiwan Philharmonic, and Mohammed Amin Ezzat, Chief Conductor of the Iraqi Orchestra, he discussed global strategies for societal change.

The New York festival PROTOTYPE Festival: Opera/Theatre/ NOW, Outernational magazine and the Viennese artist agency Dr Raab & Dr Böhm have also recently joined the strong international alliance. Laurie Anderson was made an honorary member in New York.

WE SAY: NO MORE EXCUSES!

Together with the more than fifty institutions involved in the establishment of the Academy Second Modernism in Vienna in June 2024, the new members form a powerful global network. The aim is to increase the share of works by womxn composers in concert and opera programmes worldwide and to make the field altogether much more diverse. The strength of the alliance lies in its breadth, so that everyone involved in the process is represented: from composers to festivals, universities to a major artist agency, orchestras to renowned concert venues.

Even after over a century of Modernism, only eight per cent of the works that are currently performed by orchestras across the world stem from womxn composers. Within those, 5.5 per cent of the composers are white, 0.66% are from Asia; 0.31% of mixed origin; 0.05% from the Middle East; 0.09% of Indigenous origin.

(Source: Equality & Diversity in Global Repertoire Report by Donne, Women in Music #DonneReport2022)

WOMXN COMPOSERS 2024

© Zhen Qin Du Yun
Du Yun
Du Yun
was born in Shanghai and lives in New York; she is a composer, multi-instrumentalist, performer, activist, curator for new music and has been awarded the Pulitzer Prize. Her wide range of works touches on many genres and is performed by the most important ensembles worldwide.
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© Ben Mc Donnell Bushra El-Turk
Bushra El-Turk
Bushra El-Turk
is a British-Lebanese composer in the field of concert, theatre, film, TV and live art performances. Her transcultural projects, which are performed by internationally renowned ensembles, opera and concert houses, seamlessly blend Western and Eastern music traditions.
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© Frederike Wetzels Brigitta Muntendorf
Brigitta Muntendorf
Brigitta Muntendorf
is a German-Austrian composer who stages often large-format music, dance theatre and 3D sound projects, creating a soundscape of analogue and digital forms of expression. Her works can be experienced at internationally renowned music and art festivals.
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Monthati Masebe
Monthati Masebe
Monthati Masebe
is a composer, sound artist and healer from South Africa. Blending South African indigenous and electronic music, Masebe opens new perspectives and researches the orchestration of traditional African instruments as well as microtonality and polyrhythm in inclusive notations.
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© Yury Lytko Marina Lukashevich
Marina Lukashevich
Marina Lukashevich
is a composer, sound engineer and musician from Belarus. Responding to the political crisis in Belarus in the year 2020, her compositions are positioned to interplay with documentary art. She currently lives and works in Berlin.
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© Aida Shirazi Aida Shirazi
Aida Shirazi
Aida Shirazi
is an Iranian composer and performer of (electro)acoustic music. Her work is focussed on timbre and structures, inspired by the Persian and English languages and literatures. Her music has been performed in Iran, in Europe and the USA.
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© Mark Ballyk Shasha Chen
Shasha Chen
Shasha Chen
is a composer, multi-media artist and performer from China. Her interdisciplinary and collaborative approach to composition focusses on socio-political topics such as identity, gender and violence. Her works have been performed in the USA, in Canada, Europe and China.
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© Pin Chen Lu Dilay Doğanay
Dilay Doğanay
Dilay Doğanay
was born in İzmir, Turkey. This composer’s works address such topics as geopolitical catastrophes and are performed by artists and ensembles in Austria, Germany, Switzerland, Italy, France and Turkey, including the Ensemble Intercontemporain.
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© Rui Camilo Mirela Ivičević
Mirela Ivičević
Mirela Ivičević
born in Croatia, is a co-founder of the Black Page Orchestra. Her work centres on the subversive potential of sound. She recontextualises sound and media (side) products of everyday life. Her works are performed at renowned venues and festivals.
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© Marie Luise Calvero Feliz Anne Reyes Macahis
Feliz Anne Reyes Macahis
Feliz Anne Reyes Macahis
is a composer from the Philippines. Her artistic and scientific practice centres on Philippine epic song in the context of contemporary music. She has received the Kompositionsförderpreis of the Ernst von Siemens Musikstiftung as well as other awards.
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Concept Jana Beckmann With Du Yun, Bushra El-Turk, Shasha Chen, Dilay Doğanay, Mirela Ivičević, Marina Lukashevich, Monthati Masebe, Brigitta Muntendorf, Feliz Anne Reyes Macahis, Aida Shirazi Ensemble Klangforum Wien
Jury* Jana Beckmann, Barbora Horáková Joly, Sofia Jernberg, Sophie Schafleitner, meLê yamomo

*In case of a close relationship between a jury member and an applicant composer, the jury member abstained from voting.

A project by Wiener Festwochen In Cooperation with Arnold Schönberg Center, ORF Radiokulturhaus, Ö1

IN CONVERSATION WITH NURIA SCHOENBERG NONO

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