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Sinsch, SandraThe follies of youthThe "spa flings" of symphony orchestrascategory: Essay published in: das Orchester 01/2010, Page 26 |
Many spas in Germany still maintain their own orchestras. Yet their profile is often woefully low. Parolari's article gives a brief overview of their history, their current situation and the distinctive musical features of the genre of spa orchestras. Spohr looks at the historical dimension in greater detail: as taking the waters became fashionable in the 18th century, spas began to engage musical ensembles, reaching their heyday just after 1900. Despite the relatively light musical fare, numerous top conductors have worked with spa orchestras and technical demands are often high. Yet the crisis of the spa towns – treatments are no longer covered by public health insurance – has hit their orchestras as well. As a result, ensembles have shrunk and are often staffed by lower paid musicians from Eastern Europe. Programmes, too, have changed, reflecting different musical tastes. Given these conditions, the working environment is often tantamount for job satisfaction. Some ensembles, as Frei writes, are close-knit communities, whereas others experience tensions with conductors or suffer from short-term planning. This point is also made by Roman Riedel, trombonist with the Bad Kissingen spa orchestra. While admitting to a tight work schedule, he cherishes the friendly atmosphere in a small ensemble and the musical variety of the spa programme. Less positive is the at Bad Wiessee. In her 28 years as the ensemble's leader, Sventha Danneberg has witnessed its successive trimming back, from 30 to eleven members (four in the low season) and from permanent positions to fees-based payment. The neglect of spa music is also reflected by some ensembles that today are established symphony orchestras, such as Hof or Göttingen. Playing spa towns, usually due to financial straits, is now often seen as a bit of an embarrassment and not quite compatible with serious artistic ambitions. The interview with Helge Napieralla, working for music publisher Meisel, again illustrates the declining fortunes of spa orchestras – some have vanished, all of them have shrunk substantially. At the same time, their repertoire shows amazing continuity, despite the attendant changes in instrumentation. Finally, in a brief outlook, Sinsch portrays the activities of the Association of Austrian Spa Orchestras. Founded in 1995, it aims to maintain a tradition that, despite current threats, used to attract great names and which can still offer young musicians starting opportunities for a musical career.