Composing | Publishing | Performing Opera - Team

Martin Eybl is Professor of Music History at the Department of Musicology and Performance Studies, University of Music and Performing Arts Vienna. He has taught at the University of Vienna (1991 to 2004), and has worked as a fellow at the University of Graz with an interdisciplinary research project on “1900: Vienna and Central Europe in the Modern Era” (1994–2002). From 2007 to 2023 he was chief editor of the edition series Denkmäler der Tonkunst in Österreich. He was Visiting Professor at the University of Chicago (2012) and the University of Leiden (2023). From 2013 to 2017 he was President of the Austrian Musicological Society. In 2015 he took up the position of edition director of Alban Berg’s Complete Edition.

Many of his writings are oriented on cultural studies, philology or music analysis. Where it makes sense, these combine different approaches. His research is focused on editions of early music, music dissemination and material culture, musical practices in 18th- and early 19th-century Vienna, as well as aesthetics and music theory in the early 20th century. In addition, since 2007 several research projects have been funded by the Austrian Science Fund (FWF): Heinrich Schenker, Diaries: An Annotated Edition (2007–2011, 2014–2018), Cultural Transfer of Music in Vienna, 1755–1780 (2014–2020), Paper and Copyists in Viennese Opera Scores, 1760–1770 (2021–2024) and Composing | Publishing | Performing: The Making of Alban Berg’s Wozzeck and Lulu (2023–2026).

Selected Publications

Books

Sammler*innen: Musikalische Öffentlichkeit und ständische Identität, Wien 1740–1810, Bielefeld 2022 (vernetzen | bewegen | verorten. Kulturwissenschaftliche Perspektiven 2).

Die Befreiung des Augenblicks: Schönbergs Skandalkonzerte von 1907 und 1908. Eine Dokumentation (Wiener Veröffentlichungen zur Musikgeschichte 4), Vienna 2004.

Ideologie und Methode. Zum ideengeschichtlichen Kontext von Schenkers Musiktheorie (Wiener Veröffentlichungen zur Musikwissenschaft 32), Tutzing 1995 (Phil. Diss. Vienna 1995).

Edited Volumes

Erinnerung stiften: Helene Berg und das Erbe Alban Bergs. Bericht zur internationalen Tagung am 16. und 17. März 2017, eds. Daniel Ender, Martin Eybl and Melanie Unseld, Vienna 2018.

Zyklus und Prozess. Joseph Haydn und die Zeit, eds. Marie-Agnes Dittrich, Martin Eybl and Reinhard Kapp (Wiener Veröffentlichungen zur Musikgeschichte 10), Vienna 2012.

Schenker-Traditionen. Eine Wiener Schule der Musiktheorie und ihre internationale Verbreitung / A Viennese School of Music Theory and Its International Dissemination, eds. Martin Eybl and Evelyn Fink-Mennel (Wiener Veröffentlichungen zur Musikgeschichte 6), Vienna 2006.

Music Editions

Johann Joseph Fux, Triosonaten. Ed. Martin Eybl (Johann Joseph Fux, Sämtliche Werke, Ser. VI, Bd. 5), Graz 2009.

Johann Joseph Fux, Triosonaten. Ed. Martin Eybl. Continuo arrangement by Martin Eybl (Johann Joseph Fux, Sämtliche Werke, Ser. VI, Bd. 4), Graz 2000.

Pieter Maessins, Sämtliche Werke. Published by Othmar Wessely and Martin Eybl (DTÖ 149), Graz 1995.

Annkatrin Babbe studied Music and German Studies (M.Ed.) and Musicology (M.A.) at the Carl von Ossietzky University of Oldenburg, where she received her Ph.D. in 2022. Since October 2023 she has been working as a postdoctoral researcher for the FWF project “Composing | Publishing | Performing Opera: The Making of Alban Berg’s Wozzeck and Lulu” at the Alban Berg Foundation in Vienna.

From 2013 until September 2023, she was a research assistant at the Sophie Drinker Institute Bremen, where she edited and contributed to the online encyclopedia European Women Instrumentalists of the 18th and 19th Centuries and participated in the development and implementation of the research project “Conservatories. Institutional music education in 19th century German-speaking countries” (funded by the Gerda Henkel Foundation). Her research has also been funded by the Peter Waskönig Foundation, the Sophie Drinker Foundation, the Mariann Steegmann Foundation, and the DAAD.

Annkatrin’s research interests include conservatory and music education in the 19th century, musicological gender studies, and approaches in cultural studies to 19th- and 20th-century music history. She has published numerous articles on Clara Schumann. Further publications address women's orchestras, female conductors and female instrumentalists of the 18th and 19th centuries, and Viennese musical culture of the 19th and early 20th centuries. Additional research interests include music on social media and systematic theorization of music historiographical categories.

More information can be found on her personal website and Academia profile.

Selected Publications

Books

Wiener Schule – Geigenausbildung bei Josef Hellmesberger, Vienna: Hollitzer 2023 (Musikkontext 19).

Clara Schumann und ihre Schülerinnen am Hoch’schen Konservatorium in Frankfurt am Main, Oldenburg: BIS-Verlag 2015 (Schriftenreihe des Sophie Drinker Instituts 10).

“Ein Orchester, wie es bisher in Europa noch nicht gesehen und gehört worden war”. Das “Erste Europäische Damenorchester” von Josephine Amann-Weinlich, Oldenburg: BIS-Verlag 2011 (Schriftenreihe des Sophie Drinker Instituts 8). 

Edited Volumes

Gender und Musik im Netzwerk. 20 Jahre Unabhängiges Forschungskolloquium für musikwissenschaftliche Frauen- und Genderforschung, eds. Annkatrin Babbe, Maren Bagge, Angelika Silberbauer and Marion Gerards (Jahrbuch Musik und Gender 14), Hildesheim 2023. 

Articles and Book Chapters

Josef Hellmesberger’s Female Students from Moravia and Their Presence in European Musical Life, in: Women in Nineteenth-Century Czech Musical Culture: ‘Apostles of a Brighter Future’, eds. Anja Bunzel and Christopher Bowen, London and New York 2023 

Clara Schumann am Hoch’schen Konservatorium. Überlegungen zur ‘Schumann-Schule’, in: Clara Schumann. Alltag und Künstlertum, eds. Thomas Synofzik and Michael Heinemann (Schumann-Studien 14), Würzburg 2023, pp. 17–48. 

Das Konservatorium der Gesellschaft der Musikfreunde in Wien (1817), in: Handbuch Konservatorien. Institutionelle Musikausbildung im deutschsprachigen Raum des 19. Jahrhunderts, ed. Freia Hoffmann, 3 vols., Vol. 1, Lilienthal 2021, pp. 101–164.

“Und obenan wird stehen unsere Wiener Violinschule und ihr unvergleichlicher Lehrmeister” – Überlegungen zur ‘Schulenbildung’ bei Josef Hellmesberger d. Ä., in: Konservatoriumsausbildung von 1795 bis 1945. Beiträge zur Bremer Tagung im Februar 2019, eds. Annkatrin Babbe and Volker Timmermann (Schriftenreihe des Sophie Drinker Instituts 17), Hildesheim: Olms 2021, pp. 209–226.

In October 2023, Nastasia Heckendorff assumed the position as a postdoctoral researcher for the FWF project “Composing | Publishing | Performing Opera: The Making of Alban Berg's Wozzeck and Lulu” at the Alban Berg Foundation in Vienna. Her main research interests include music culture in the early modern period and modernism; opera and music theatre with a focus on the 17th century and the early 20th century; authorship and artistic creative processes, as well as historical-critical music editions.

From 2021 until September 2023, she worked as a research assistant at the Chair of Music in the Middle Ages and the Renaissance (Department of Musicology Weimar-Jena). As part of extensive research periods in Italy and France, she was associated with the German Historical Institutes in Paris and Rome and the German Centre for Venetian Studies in Venice.

Nastasia Heckendorff studied musicology and psychology in Weimar, Jena and Paris and completed her studies with a M.A. in 2018 and a Ph.D. in 2024. Her first monograph explores the complex interactions between opera and politics in the seicento, taking Marco Marazzoli’s stage works as an example. Scholarships and fellowships were awarded to her by the Studienstiftung des deutschen Volkes (doctoral scholarship), the McGill University Montreal, and the Society for Seventeenth-Century Music, among others. Between 2020 and 2022, she was a visiting researcher at the Humboldt University in Berlin and between August and October 2024, postdoctoral fellow at Yale University (New Haven, CT).

She has taught courses on 17th-century music history, editorial philology, and music at the Weimar Bauhaus.

Further information can be found on her Academia profile and on her website.

Selected Publications

Books

Inszenierte Politik und politische Inszenierung – die Bühnenwerke Marco Marazzolis im Kontext des seicento, in preparation

Edited Volumes

The Beginnings of Opera in Europe, ed. with Michael Klaper Turnhout, in preparation

Articles, book chapters and reviews

Bridges to the Past – the Case of the Grimani, Quaderni della Direzione regionale Musei Veneto, ed. with Michael Klaper und Sophie Kleveman, in preparation

Articles

Die griechische Tragödie als Urbild und Leitbild für Reformansätze der Schauspielmusik, in: Handbuch Schauspielmusik, eds. Antje Tumat and Anna Ricke, Stuttgart, in preparation

“Dovute grazie in musica”. Zwei neu entdeckte Briefe von Luigi Rossi, in: Die Musikforschung 2/75 (2022), pp. 147–153.

Introduction, in: Cantatas on Texts by Francesco Buti, eds. Michael Klaper and Nastasia Heckendorff, Middelton 2021, pp.  xi-xxx.

Die weltlichen Kantaten Luigi Cherubinis, in: Luigi Cherubini – Eine Herausforderung. Autographe Bestände Krakau 2014, eds. Helen Geyer and Michael Pauser, Krakau 2014, pp. 40–43.

Music Editions

Cantatas on Texts by Francesco Buti, eds. Michael Klaper and Nastasia Heckendorff, Middleton 2021.

Constanze Köhn joined the FWF project “Composing | Publishing | Performing Opera: The Making of Alban Berg’s Wozzeck and Lulu” at the Alban Berg Foundation in Vienna in May 2024.

From 2017 to 2024, she was a research assistant at the Department of Musicology and Performance Studies at the mdw – University of Music and Performing Arts Vienna. Initially, she worked on the FWF project “Cultural Transfer of Music in Vienna, 1755–1780” and, since 2021, on the subsequent FWF project “Paper and Copyists in Viennese Opera Scores, 1760–70.” She completed her studies in musicology and philosophy at the University of Vienna, Heidelberg University, and the University of Pavia in Cremona with a thesis on theatre aesthetics in Ferruccio Busoni’s “Arlecchino oder Die Fenster” in 2017.

Currently a PhD candidate at the mdw, she is dedicated to her dissertation on aristocratic patrons of oratorio performances in Vienna between 1780 and 1815, particularly the “Gesellschaft der associierten Cavaliers.” Her research has received funding from the study fund PRO SCIENTIA, the doctoral scholarship of the mdw, the bilateral funding program “AKTION Österreich – Tschechien” (not utilized due to the pandemic), and a scholarship from the Adalbert Stifter Verein.

Selected Publications

Articles and Book Chapters

“Collaborative Work Processes in Copyist Workshops in Mid-Eighteenth-Century Vienna,” in: Musicologica Austriaca: Journal for Austrian Music Studies (in preparation).

“‘– werden einige hundert Frauen sich lange vertragen?’ Die Gesellschaft adeliger Frauen zur Beförderung des Guten und Nützlichen im Wiener Konzertleben Anfang des 19. Jahrhunderts,” in: (Wahl-)Verwandtschaften. Gemeinschaftliches kulturelles Handeln, eds. Maren Bagge, Christine Fornoff-Petrowski, Anna Ricke, and Susanne Rode-Breymann, Vienna / Cologne / Weimar (Musik – Kultur – Gender) (print in preparation).

“Erschließung neuer Räume im Geflecht persönlicher Beziehungen. Die Aufführungen von Christus am Ölberge in Wien Anfang des 19. Jahrhunderts,” in: Beethoven-Geflechte. A Beethoven Tapestry. Networks and Cultures of Memory, eds. Birgit Lodes and Melanie Unseld, Vienna 2024 (Veröffentlichungen zur Musikforschung 30 / Sitzungsberichte der philosophisch-historischen Klasse 939), pp. 153–177.

(together with Christiane Maria Hornbachner) “Watermarks in Viennese Opera Scores: Toward a Comprehensive Database of Music Paper 1760–1775,” in: Artists’ Paper: A Case in Paper History, eds. Patricia Engel et al., Horn 2023, pp. 484–502.

“Erinnerung im öffentlichen Raum. Die Beethoven-Gedenktafel(n) am Theater an der Wien,” in: Beethoven.an.denken. Das Theater an der Wien als Erinnerungsort, eds. Julia Ackermann and Melanie Unseld, Vienna / Cologne / Weimar 2020, pp. 72–90.

Hazal Akyaz is a mezzo-soprano and musicologist. She studied singing at Dokuz Eylül University in Izmir and at the Alfredo Casella Conservatory in L'Aquila. After gaining initial artistic experience in opera and concert performance, she increasingly turned her attention to musicological research and digital musicology. She is currently a doctoral candidate at the Anton Bruckner Private University in Linz, where she is researching the pedagogical reception and editorial history of Alessandro Parisotti's Arie Antiche under the supervision of Markus Neuwirth and Claudio Bacciagaluppi.

Akyaz was a lecturer in voice training at the JAM Music Lab Private University in Vienna and completed an internship at the Vienna office of the New Schubert Edition of the Austrian Academy of Sciences. She is currently working as a student assistant at the Nikolaus Harnoncourt Center of the ABPU, where she is involved in the digitization and cataloging of historical sources. In 2025, she received a scholarship from Gruppo Analisi e Teoria Musicale (GATM) and is completing an internship as part of the FWF project “Composing | Publishing | Performing Opera: The Making of Alban Berg’s Wozzeck and Lulu”.