1952 Salzburg

Jun 20, 1952 – Jul 3, 1952

Festival info

Start: Jun 20, 1952

End: Jul 3, 1952

Locations: Salzburg

Hosting member(s)


(in connection with the Third International Twelve Tone Congress)

From contemporaneous reviews

“The vast majority of works performed (and often badly performed) did not deserve a single hearing; again and again one had listen to ‘com-positions’ in the literal and rather unmusical sense of the sub-professional attempts to put together, more or (far) less successfully, completely undistinguished material. It is difficult to give the innocently reader an adequate picture of this orgy of incompetence. …

“In private, one would find practically every ISCM member agreeing one’s condemnation, the usual excuse or explanation being that ‘nothing was to be found.’ If, and as long as this is true, there is no logical justification for any ISCM Festival at all. One is aware that the primary object of Festivals is to give factual and empiric information about the state of modern music. But it is driving objectivity rather far to have a Festival for what, effect, becomes the main purpose of informing the public and the profession about the development of incompetence all over the world.

“Yes, all over the world. This year a new experiment was tried disastrous and, it must be said, foreseeable consequences. For the first that is to say, every country, every national section which had paid its subscription was represented by at least one work. … The musical result was both unfair and unbearable.”

— Hans Keller, “The 26th ISCM Festival at Salzburg,” Tempo, No. 24 (Summer 1952), p. 14.

“Fast jede der vierundzwanzig IGNM Sektionen, die sich an dem Salzburger Jubiläum beteiligten, war offenbar bestrebt, in einem möglichst „fortschrittlichen” Werk vertreten zu werden. Da die Ansichten über die Möglichkeiten des musikalischen Fortschritts in traditionell weniger belasteten, aber auch weniger „fortgeschrittenen” Gegenden wie Südafrika, Neuseeland, Argentinien, Brasilien andere sind als etwa in Italien, England, Frankreich, Belgien und andere auch bei den verschiedenen Komponisten, ergab sich bei der Aneinanderreihung der einzelnen Kompositionen ein wunderliches Gemisch von Stilen und Techniken, das vom romantischen Gefühlsausbruch mit falschen Bässen über den Impressionismus, Expressionismus und das abstrakte Töncspiel der neuen Himmelsstürmer bis zur superben Resignation in C beinahe alles in sich schloß, was in den letzten fünfzig Jahren auf irgendeine Weise neu und bahnbrechend gewesen ist. Bedauerlich, daß man dabei zumeist nur fromme Absicht merkte und sonst nichts.”

(“Almost every one of the twenty-four IGNM sections that participated in the Salzburg Jubilee was apparently anxious to be represented with as ‘progressive’ a work as possible. Since the views on the possibilities of musical progress in traditionally less burdened, but also less ‘advanced’ regions such as South Africa, New Zealand, Argentina, Brazil are different from those in, say, Italy, England, France, Belgium and others also among the various composers, the juxtaposition of the individual compositions resulted in a strange mixture of styles and techniques, ranging from romantic emotional outbursts with false basses, through impressionism, expressionism, and the abstract tonal play of the new to the superb resignation in C, which included almost everything that has been in some way new and groundbreaking in the last fifty years. It is regrettable that one mostly noticed only pious intention and nothing else.”)

–Friedrich Saathen, “Notizen zum 26. Fest der IGNM,”
Österreichische Musikzeitschrift 7/7-8 (Wien, Austria: July-August 1952), p. 237
(in German; translated into English with the help of www.DeepL.com/Translator)

Programme information