Music in

Civic Music Associations - Concert and Brass Band Activity

Around the middle of the 18th century aristocratic “Dilettanten” (music lovers) in Innsbruck had joined to form a Musical Academy. With the support of professional musicians, they put on private concerts. Wenzel Count Spaur created the “casino of the higher nobility” (hochadelige Kasino)in 1787, a clubhouse devoted to the practice of music, as was the “civic municipal casino” (bürgerliche Stadtcasino) founded in 1799. The Governor of the Tyrol, Karl Count Arco was the president during the reorganization of the municipal clubhouse (Stadtkasino) into a “dance, music and library clubhouse” in 1807, the appellate court counselor Josef Ritter von Hippoliti from 1815 to 1818. The orchestra of the casino society consisted of its own members, other amateurs, and professional and military musicians; after the foundation of the Musical Society (Musikverein) its members also joined in. “The Casino often put on concerts,” reports Johann Baptist Gänsbacher (1778-1844) in 1818. In 1821 he went on stage at a Casino concert as a pianist with a divertimento composed by himself. The musical direction was taken over in 1825 by directors and conductors of the Musical Society (Musikverein). Until 1846 they held Easter or charity concerts, the proceeds going to the municipal charity fund.[22]
Inspired by the success of the Academic Music Society (Akademische Musikgesellschaft) in 1816/17 in Innsbruck, the Society for Musical and Rhetorical Education (Verein zur Bildung in der Musik und im Declamieren) was formed in 1818 thanks to the decisive contribution of Johann Gänsbacher. The first musical director was the theologian Franz Craffonara, the first music lessons were given by Father Martin Goller OSB (1764-1836) and Johann Herzog. Matthäus Nagiller (1815-1874), a pupil of Goller, became the director of the Musical Society (Musikverein) in Innsbruck in 1867, after he had spent five years in the same post in Bozen just before that. He initiated the performance of oratorios by Händel and Mendelssohn Bartholdy in Innsbruck with over three hundred performers. Nagiller had considerable success as a music theorist and composer in Paris and Germany. His opera “Friedrich mit der leeren Tasche” was first performed in Innsbruck in 1859. Besides other operas he wrote symphonic music, works for choir, and church music.[23] The concert activities of the Society in the Redoutensaal (a hall for ridotto or redoute, a musical entertainment with ballroom dancing) had begun in August 1818. Two to six concerts a year with vocal and instrumental works followed, performed around the middle of the 19th century under the music directors Karl May(e)r (before 1800-after1841), Franz Hölzl (1808-1884), Josef Alliani (1807-1887), later Alois Teuchner (1810-1896) and František Skuherský (1830-1892). In 1875 Josef Pembaur the Elder (1848-1923) succeeded Nagiller as the director of the Musical Society (Musikverein). He had studied with Anton Bruckner and Josef Rheinberger, among others. Musical life in Innsbruck revolved around him, for he was a teacher of voice, organ, piano and theory at the music school, conducted its orchestra as well as choral societies and the church music for university church services at the Jesuit church. He brought about the construction of the Musical Society building (Musikverein) on Museum Street that they occupied in 1912 and that still houses the Tyrolean Conservatory of Music (Tiroler Landeskonservatorium) today. Pembaur’s production includes compositions for piano and organ, songs, choral music, church music, several works with Tyrolean themes, such as “Die Schlacht am Berg Isel,” “Ave Maria nach der Berg-Isel-Schlacht,” a symphony “In Tirol” and textbooks on music theory.[24] The Innsbruck Musical Society (Musikverein) lasted until 1939.
Music lovers in Trent in 1795 joined together to form the Philharmonic Society (Società Filarmonica) and organized an orchestra; in 1816 the society was changed into a Scuola Filarmonica. The music lovers in Bozen had a Municipal Music Society (Städtische Musikgesellschaft) from 1820 on. In December 1855 the Bozen Musical Society (Musikverein) founded in April of that year held its first concert in the upstairs auditorium of the Mercantile Building (Merkantilsaal) with vocal and instrumental pieces by Julius Otto, Daniel François Esprit Auber and Johann Wenzel Kalliwoda. The performance of Haydn’s “Schöpfung” under Matthäus Nagiller in 1863 represents a highlight in the life of the society. The Musical Society (Musikverein) director Adolf Peter (1897-1913) conducted about three orchestral concerts a year, with many classical and Romantic works played for the first time in Bozen, among others all the symphonies of Beethoven, the “Eindeutsches Requiem” by Brahms, and the sixth symphony and the piano concerto by Tchaikovsky. The lawyer, composer, and writer on music Hermann Ludwig Eichborn (1847-1918) kept a private orchestra in Gries with about 25 professional musicians, who were also joined by amateurs. This ensemble was available for concerts given by the musical society (Musikverein). Musical Societies aiming to promote concerts, church music and music lessons had also existed since 1821 in Gries, 1834 in Innichen, 1838 in Klausen, 1856 in Brixen and 1871 in Rovereto.[25]
In Schwaz the music lovers formed an orchestral society in 1888 that played concerts and music for theater performances in the Gesellenhaus building. In the same period an amateur string orchestra was active in Sterzing, as were others in Steinach on the Brenner Pass from 1896 on, and in Telfs since 1902. In the latter there had also been a salon orchestra since 1886. A string orchestra (Streichmusik) played in Fulpmes around the turn of the century mainly in the church and, from 1903 on, as the “stage orchestra” (Bühnenmusik) of the Stubai rural theater (Bauerntheater). In 1894 a small strings ensemble belonged to the teacher Hans Weinold’s all-male quartet in Brixlegg.[26]
Many men’s choirs for the cultivation of music and social life arose in the Tyrol in the second half of the 19th century. Academics and other burghers assembled in the Innsbrucker Liedertafel(literally, “song-table,” a male-voice singing society, originally seated around a table) in 1842. Regrouped, the singers attended rehearsals and concerts of the Innsbruck Musical Society (Musikverein) from 1852 on. Members of the Innsbrucker Liedertafel started an association uniting all the singing groups in the Tyrol in 1858. Finally, at a singers’ festival (Sängerfest) in Schwaz in 1860, hosted by the Schwazer Liederkranz, the parent association Tiroler Sängerbund was founded. It sent 120 men to a singer’s meeting (Sängertreffen) in Nuremberg in 1861. The directors of the choir of the Tiroler Sängerbund were the parish choir director Alois Teuchner from 1860 to 1872, the military bandleader Karl Komzák (1850-1905) from 1873 to 1880, Josef Pembaur the Elder from 1888 to 1898, and the bandleader Josef Lutz of Kufstein from 1898 to 1918.[27]
Eight former members of the Innsbrucker Liedertafel set up the German Men’s Singing Society (Deutscher Männergesangverein) on their own in 1901. National or popular songs (“Pöll-Liadlan”, i.e. songs by Pöll) were represented in its program, as were passages from the opera “Der Spielmann” composed by one of its members, Peter Marini (1878-1954) a Mitterer pupil, that played at the Innsbruck Theater in 1913/14. Josef Pöll (1874-1940) arranged folk tunes and songs by Oswald von Wolkenstein for male choir that soon became some of the most popular numbers in the repertoires of Tyrolean choirs. Some of his own songs “in the folk style” (im Volkston) became so familiar amongst the people that they were eventually thought to be folk songs (Volkslieder).[28]
Hans Zipperle, the conductor of the parish church choir, founded the Sängerverein “Erheiterung” (“Amusement” Singing Society) around 1850 in Bozen, which was joined by the parish organist Jakob Schgraffer (1799-1859), by Matthäus Nagiller and others. Karl Peschak, one of the best tenors in Austria, belonged to both this short-lived society and the male-voice singing society Bozner Liedertafel founded in 1861. This developed into the Bozen Men’s Singing Society (Männergesangverein)in 1876, which expressly intended to facilitate access for all levels of society to choral singing and the “German song” (deutsche Lied). Other men’s choirs had existed in Schlanders since 1860, in Meran and Brixen since 1862, in Bruneck since 1873 and in Lana since 1910.[29] The men’s singing society (Männergesangverein) in both Brixen and Bozen as well as the male-voice singing society (Liedertafel) in Kaltern also had one orchestra each.[30]
In northern Tyrol there had been choirs in Kufstein since 1859, Kramsach since 1910 and in Steinach on the Brenner Pass a civic choir (Bürgersängerchor) since 1912. The Liederkranz male choir in Telfs, founded in 1879, gave several concerts a year under its first choir leader, the teacher and organist Peter Alois Kircher (1836-1910). In Innsbruck several choirs were established around the turn of the century, such as the “Harmony” Workers’ Singing Society (Arbeitersängerbund“Eintracht”) in 1882, the WiltenMen’s Singing Society (Männergesangverein) in 1891, and the Pradl and “Lyra” men’s singing societies in 1909.[31] Some choirs placed a special emphasis on folk song (Volkslied). In 1882 the Tower Watchmens’ Singing Club (Turner-Sängerklub) in Innsbruck developed into a double quartet, the Turner-Sängerriege. From 1886 on it was directed by the chief municipal cashier Karl Gabl of Imst, who arranged folk songs for the choir himself. In 1886 the “Vogelweider” (formerly “Tiroler Liederhort”) assembled as a male quartet, to which the former national or popular singer Hans Gänsluckner (†1892) belonged, as did the yodeler Nikolaus Arnold. The Alpine folk song (alpines Volkslied) was also the central focus of the repertoire of the “Wolkensteiner” in Innsbruck, which evolved from a double quartet of volunteer firemen in Innsbruck and which first introduced itself to the Innsbruck public in 1911. A group of singers of the Carinthian “Congeniality” Society (
Kärntner-Verein“Gemütlichkeit”) in Innsbruck strove to cultivate Carinthian folk song (Volkslied) from 1901 on.[32]
The statutes of the Sterzinger Liederkranz society were approved in 1860. It changed its name to Men’s Singing Society (Männergesangverein) in 1883; twenty ladies were also active participants in the choir by 1900. In the Lienzer Sängerbund of 1860, female singers are first mentioned in 1901; a separate women’s choir was formed there in 1905. The Protestant mixed choir (Evangelische gemischte Chor) in Innsbruck provided singing pleasure for both men and women from the start (1908).[33]
Around 1900 many choirs, musicians and virtuosi from at home and abroad, for example Pablo de Sarasate in 1906, gave concerts in Innsbruck. Brass bands visited repeatedly. Bandstand concerts were held in the garden of the royal residence (Hofgarten). The first “talking and singing film” was screened in the Triumphkino (cinema) in 1913.[34]
Among the virtuosi who performed around the turn of the century in Bozen and in the Trentino was the Busoni family in the winter of 1878/79: Feruccio, a child prodigy at the piano with his parents, the clarinet virtuoso Ferdinando Busoni and the pianist Anna Weiß-Busoni.[35]
“Refined entertainment” was provided by music at the spa in Meran. A string orchestra with fifteen musicians started putting on concerts there in 1860 after a “Banda” with the municipal trumpeters had already been playing for spa guests around 1840. In Arco the spa hotel under construction in 1877 was given a separate concert hall. Waltzes and françaises were danced at spa balls. In Bozen-Gries the spa music in the last decades of the 19th century was provided either by an institutionalized orchestra of the spa’s own, the band of the 14th Infantry Regiment “Ernst Ludwig, Großherzog von Hessen und bei Rhein,” or by the musicians of the Eichborn Orchestra. At Lotterbad in Ulten, an old country spa, guests did a lot of dancing during the season in the 18th century, and the same at the health resort of Mitterbad in Ulten. The dance music in Mitterbad was often played by Bohemian musicians. The Schalderer Bad already had a “laudable spa company” in 1766, which made the “fellows taking the waters” happy “to everyone’s amazement with the four-fold sounding of trumpets and the pleasing sound of different musical instruments, including drums.”[36]
Although a plethora of musical events was offered in Innsbruck towards the end of the 19th century, what with the orchestra of the Musical Society (Musikverein), the theater with its orchestra, several regimental ensembles also with string sections, brass bands, and singing societies, Martin Spörr (1866-1937) found there was a lack of events in the summers. Hence the former horn player of the Innsbruck theater and teacher at the Musical Society set up an orchestra of about thirty men, encouraged by the director of the Musikverein, Josef Pembaur, which first introduced itself to the public with a concert at the opening of the First Tyrolean Exhibition (Erste Tiroler Landesausstellung) on 17 June 1893. In collaboration with the Musical Society (Musikverein), the orchestra performed the first production of Pembaur’s “Bilder aus dem Leben Walthers von der Vogelweide” in July 1893. In order to secure the orchestra musicians’ economic position, Spörr applied to the municipality for funding of the enterprise. The subvention approved by the municipal counselors was only a mere trickle, for which more conditions kept being attached to the orchestra’s range of activities. The city fathers feared that the “municipal orchestra would be an inexhaustible source of expenses” and saw its position in addition to the military band as “very critical.” Spörr received the additional charge of having to “play concerts in restaurants within the city district.” On 4 November 1893 the first concert of the Innsbrucker Stadtorchester took place in the great municipal hall (Großer Stadtsaal) with a colorful program, with excerpts from operas by Wagner, Rossini, Mascagni, Delibes and Suppé, with “Hungarian Dances” by Brahms and a medley by Komzák. From the middle of May to the end of September 1894 the orchestra put on 156 concerts all summer long. These also included “productions” in the garden of the royal residence (Hofgarten) and on Berg Isel. The musicians also played in the theater from the autumn of 1894 on in order to be able to make a living. The press judged the Spörr orchestra in 1899 as being musically established. Spörr had even made performances of Richard Strauss possible, but the city refused their funding for 1900. Spörr thereupon moved to Graz. A new conductor was then sought and selected by the city of Innsbruck despite the fact that this was a private orchestra: in December 1900 Karl Krafft-Lortzing (†1923) was hired for the position of orchestra director in Innsbruck. He started work at Easter in 1901 and, among other things, had to give concerts at the Grauer Bär Hotel every Sunday, the Habsburger Hof Inn every Monday, and in the municipal hall (Stadtsaal) “the other days” for the city to grant the orchestra an allowance. In 1907 the direction was taken over by Josef Werner (1870-1959). With only slight help from the city, he had to see to the financial support of the orchestra while nevertheless having to be on call for municipal festivities free of charge with all his musicians. After Werner, too, had grown weary of the constant struggle for funding, on 1 May 1914 the theater orchestra’s former director of music Max Köhler (1879-1962) dared to take on the difficult job of keeping the orchestra going for the public. He managed to do so despite the war years that followed. It was not until 1946 that the city took charge of the Municipal Orchestra (Städtische Orchester) for good.[37]
In the past, the city’s tower watchmen had contributed to maintaining public order through their services and had given the urban population a chance to experience live music at sacred and profane festivities through their music making on the side. This function was later taken over by the music bands (Musikkapellen), of which two are mentioned in Innsbruck as early as 1767: the Obermayer’sche Musikanten-Kompagnieand the Sporer-Musikanten-Kompagnie. The military bands were important for the further development of the municipal wind and brass bands, which at first used to like to play together with strings. In 1815 the Kaiserjäger riflemen, the new gendarme regiment (Landjägerregiment) in Innsbruck, was to acquire a “Musikbande.” “Because of the lack of sufficiently musical individuals” Johann Gänsbacher traveled to Prague that year in order to select 24 musicians for Innsbruck from Bohemian regiments. As Gänsbacher had high standards, he could only find 14 musicians. They were able to make their living in Innsbruck through additional employment with the “municipal orchestra” and “by teaching.” After the reorganization of the Innsbruck riflemen’s company (Standschützenkompagnie) in 1815, a new riflemen’s band(Schützenmusikkapelle) was created around the end of the year. It presented itself to the Emperor for the first time on 27 May 1816. Gänsbacher dedicated several marches to both ensembles. The Schützenmusikkapelle put in an appearance at festive occasions such as receptions for distinguished guests, at processions and target shooting (Freischießen). In 1838 the members of the band included the Innsbruck piano builders Franz and Josef Gröber and Josef Morherr. After reorganization in 1852, the band was called the Municipal Music Band (Städtische Musikkapelle). The city magistrate appointed Philipp Josef Katschthaler (1821-after 1879) of the Zillertal as the director in 1859. However, due to various grievances, the Innsbruck municipality decided to suspend the wages of the bandleader and musicians as of 1 November 1868; on 1 October 1869 the citizens’ committee of the city voted to dissolve the band. The fact that these wind and brass bands met the needs of the townspeople in the 19th century is shown by their names, as in Meran, Brixen and Sterzing, where they were called Bürgerkapelle(civic band), or “banda civica,” as in several cases in the Trentino.[38]
Towards the end of the 19th century regimental bands were composed of both wind instruments and combinations of bowed string and other instruments. From 1871 to 1880 Karl Komzák (1850-1905) conducted the band of the 7th Infantry Regiment “Baron Maroičić,” which was garrisoned in Innsbruck at the time. Besides sounding the tattoo daily, this ensemble put on a weekly concert on the square in front of the Innsbruck train station. Performing at balls and benefit events also belonged to its duties. Its concert programs list pieces such as virtuoso works for violin and orchestra, e.g. by Henri Vieuxtemps with the conductor Komzák as the soloist, as well as the “Jupiter” Symphony by Mozart.[39]

Fussnoten

[22] Emil BERLANDA, “Karwochenoratorien in Tirol,” Ostern in Tirol (Schlern-Schriften 169), ed. Nikolaus Grass, Innsbruck 1957, p. 345;
Ernst KNOFLACH, “Von Gänsbacher bis Pembaur,” Österreichische Musikzeitschrift 25 (1970) p. 699f;
Konrad FISCHNALER, Innsbrucker Chronik 4, Innsbruck 1929, p. 335f;
Johann GÄNSBACHER, Denkwürdigkeiten aus meinem Leben, ed. and commentary Walter Senn, Thaur 1986, p. 86, 91. -
For the casino societies in the Trentino in the 19th century, see Antonio CARLINI, “Dal XVII al XIX Secolo,” Musica a Mezzolombardo; Dalla Chiesa alla Banda: spettacolo e cultura tra XVII e XX secolo, Mezzolombardo 1989, p. 88.

[23] Karl SENN, Der Innsbrucker Musikverein: Sein Werden und seine Entwicklung im ersten Jahrhundert seines Wirkens (1818-1918), n.p., n.d., p. 10ff;
[Johann Nepomuk von RHEINHART], Der Musikverein zu Innsbruck: Eine historische Darstellung des Entstehens und Wirkens dieser Anstalt von ihrer Gründung bis zum Schlusse des Jahres 1831, Von einem Vereinsgliede, n.p., n.d.; and in: Beiträge zur Geschichte, Statistik, Naturkunde und Kunst von Tirol und Vorarlberg 8 (1834) p. 225 ff;
Ernst KNOFLACH, “Von Gänsbacher bis Pembaur,” Österreichische Musikzeitschrift 25 (1970) p. 700f;
Emil BERLANDA, “Karwochenoratorien in Tirol,” Ostern in Tirol (Schlern-Schriften 169), ed. Nikolaus Grass, Innsbruck 1957, p. 340;
Konrad FISCHNALER, Innsbrucker Chronik 2, Innsbruck 1929, p. 130, 132, 140ff;
Walter SENN, “Musik in Tirol: Älteste Nachrichten - Heldenlieder - Minnesänger - Spielleute,” Erläuterungen zur Kulturkarte von Tirol: Historische Stätten und Kulturdenkmale, ed. Ernest Troger, Vienna [1967], p. 26;
Rudolf SINWEL, “Zwei Unterinntaler Tonmeister (Matthäus Nagiller und Johann Obersteiner),” Tiroler Heimatblätter 2 (1924) p. 5;
Josef WEBER, “Matthäus Nagiller,” Tiroler Ehrenkranz, ed. Alois Lanner, Innsbruck etc. 1925, p. 105f;
Philipp MAYER, “Musik und Volksmusik in Tirol und Vorarlberg,” Die österreichisch-ungarische Monarchie in Wort und Bild, vol.: Tirol und Vorarlberg, Vienna 1893, p. 378;
Wolfgang STEINER, “Die historische Entwicklung von Musikverein-Musikschule-Konservatorium,” 175 Jahre Musikverein, Musikschule, Konservatorium in Innsbruck, ed. Wolfgang Steiner, Innsbruck 1993, p. 11ff.

[24] Karl Senn, “Josef Pembaur,” Tiroler Ehrenkranz, ed. Alois Lanner, Innsbruck etc. 1925, p. 111f;
Wolfgang STEINER, “Die historische Entwicklung von Musikverein-Musikschule-Konservatorium,” 175 Jahre Musikverein, Musikschule, Konservatorium in Innsbruck, ed. Wolfgang Steiner, Innsbruck 1993, p. 47ff.

[25] Clemente LUNELLI, “Trento,” Dizionario Enciclopedico Universale della Musica e dei Musicisti, vol. 4, Torino 1984, p. 582;
Antonio CARLINI, “Associazioni e attività musicale,” Ottocento musicale nel Trentino, ed. Antonio Carlini et al., Trento 1985, p. 8ff, 58ff;
Oswald SAILER, “Chor und Choralgesang in der Geschichte Südtirols bis 1876,” Der Schlern 50 (1976) p. 190, 197f;
Johanna BLUM, “Bozen als Musikstadt,” Jahrbuch des Südtiroler Kulturinstitutes 8 (1973) p. 411ff;
Georg TENGLER, “Das Eichbornorchester in Bozen-Gries,” Der Schlern 58 (1984) p. 205ff;
Hans SIMMERLE, Kirchenchöre Südtirols: Notizen, Berichte und Geschichten aus 125 Jahren, Bozen 1998, p. 104;
Giuliano TONINI, “Salonkultur in Bozen,” Musica vocalis: Singen in Südtirol - einst und jetzt, Bozen 1989, p. 47;
Giuliano TONINI, “Il salotto musicale a Bolzano fra Settecento e inizi Novecento,” Il Cristallo 31 (1989) p. 121;
Walter SENN, “Musik in Tirol: Älteste Nachrichten - Heldenlieder - Minnesänger - Spielleute,” Erläuterungen zur Kulturkarte von Tirol: Historische Stätten und Kulturdenkmale, ed. Ernest Troger, Vienna [1967], p. 26;
Ernst KNOFLACH, “Von Gänsbacher bis Pembaur,” Österreichische Musikzeitschrift 25 (1970) p. 702.

[26] Hans STERNAD, “Aus der Geschichte 1850 bis 1980,” Stadtbuch Schwaz: Natur-Bergbau-Geschichte, ed. Erich Egg et al., Schwaz 1986, p. 310f;
Hans KRAMER, “Beiträge zu einer Chronik von Sterzing und Umgebung 1814 bis 1914,” Veröffentlichungen des Museum[s] Ferdinandeum 31 (1951) p. 471;
Hans KRAMER, “Beiträge zur Kultur- und Wirtschaftsgeschichte von Steinach [am Brenner] (im 19. und zu Beginn des 20. Jahrhunderts),” Veröffentlichungen des Museum[s] Ferdinandeum 54 (1974) p. 158;
Walter THALER, “Musikpflege [und] Volksschauspiele,” Telfer Buch (Schlern-Schriften 112), Innsbruck 1955, p. 303f;
Christian HUNGER, “Aus dem Fulpmer Musikleben,” Fulpmes, Fulpmes 1987, p. 188;
Karl LEIPERT, Hundert Jahre Tiroler Sängerbund 1860-1960 (Schlern-Schriften 211), Innsbruck 1960, p. 98.

[27] Konrad FISCHNALER, Innsbrucker Chronik 2, Innsbruck 1929, p. 132ff, 136, 142f;
Philipp MAYER, “Musik und Volksmusik in Tirol und Vorarlberg,” Die österreichisch-ungarische Monarchie in Wort und Bild, vol.: Tirol und Vorarlberg, Vienna 1893, p. 380;
Walter Hummel, W. A. Mozarts Söhne, Kassel, Basel 1956, p. 239, 302;
Karl LEIPERT, Hundert Jahre Tiroler Sängerbund 1860-1960 (Schlern-Schriften 211), Innsbruck 1960, p. 69ff;
Wenzel Josef MEINDL, “Über das Musikleben in Tirol,” Hundert Jahre Tiroler Sängerbund 1860-1960 (Schlern-Schriften 211), Innsbruck 1960, p. 25, 27;
Karl LEIPERT, “Der Tiroler Sängerbund 1860-1960,” Hundert Jahre Tiroler Sängerbund 1860-1960 (Schlern-Schriften 211), Innsbruck 1960, p. 30ff;
Wenzel Josef MEINDL, Meister der Tonkunst als Chorleiter im Tiroler Sängerbund 1860, Innsbruck 1984;
Wenzel Josef MEINDL, 130 Jahre InnsbruckerLiedertafel, Innsbruck [1985] ;
Max SCHÖNHERR and Eugen BRIXEL, Karl Komzák Vater - Sohn – Enkel: Ein Beitrag zur Geschichte der österreichischen Popularmusik, Vienna 1989, p. 20, 50, 317.

[28] Konrad FISCHNALER, Innsbrucker Chronik 2, Innsbruck 1929, p. 136f;
Artur KANETSCHEIDER, “Josef Pöll,” Hundert Jahre Tiroler Sängerbund 1860-1960, ed. Karl Leipert (Schlern-Schriften 211), Innsbruck 1960, p. 62;
Karl LEIPERT, “Deutscher Männergesangverein Innsbruck,” Hundert Jahre Tiroler Sängerbund 1860-1960, ed. Karl Leipert (Schlern-Schriften 211), Innsbruck 1960, p. 89;
Wenzel Josef MEINDL, Meister der Tonkunst als Chorleiter im Tiroler Sängerbund 1860, Innsbruck 1984, n.p.;
Rudolf SINWEL, “Die Hauptförderer des Tiroler Volksgesangs,” Tiroler Heimatblätter 6 (1928) p. 307;
Rudolf SINWEL, “Josef Pöll und das Tiroler Volkslied,” Tiroler Heimatblätter 12 (1934) p. 180. -
Cf. Siegfried SINGER, “Josef Pöll (1874-1940): Ein vielfältig begabter Tiroler Künstler und Wissenschaftler,” Jahrbuch des österreichischen Volksliedwerks 49 (2000) p. 139ff.

[29] Oswald SAILER, “Chor und Choralgesang in der Geschichte Südtirols bis 1876,” Der Schlern 50 (1976) p. 197f, 200;
Giuliano TONINI, “Il salotto musicale a Bolzano fra Settecento e inizi Novecento,” Il Cristallo 31 (1989) p. 121;
Ursula RIEDER, “Die Dommusik und einige Aspekte des bürgerlichen Musiklebens in Brixen,” Musica vocalis: Singen in Südtirol einst und jetzt, ed. Südtiroler Sängerbund, Bozen 1989, p. 34;
Josef GELMI, Geschichte der Stadt Brixen, Brixen 2000, p. 246;
SÜDTIROLER Sängerbund [...] Festschrift zum VIII. Bundessingen Bozen 1969, Brixen, Bozen 1969. -

[30] Gottfried MASONER, “Von der Bozner Liedertafel zum Männergesangverein Bozen,” Der Schlern 50 (1976) p. 219ff. -
Willy GAMPER, “100 Jahre Männergesangverein Bozen,” Der Schlern 50 (1976) p. 202ff. -
For photos of the societies of Brixen and Kaltern around 1900 (the Liedertafel Kaltern with Josef Gasser [1884-1961]), see Hans SIMMERLE, Kirchenchöre Südtirols: Notizen, Berichte und Geschichten aus 125 Jahren, Bozen 1998, p. 39.

[31] Karl LEIPERT, Hundert Jahre Tiroler Sängerbund 1860-1960 (Schlern-Schriften 211), Innsbruck 1960, p. 78f, 84ff, 93;
Hans KRAMER, “Beiträge zur Kultur- und Wirtschaftsgeschichte von Steinach [am Brenner] (im 19. und zu Beginn des 20. Jahrhunderts),” Veröffentlichungen des Museum[s] Ferdinandeum 54 (1974) p. 159;
Walter THALER, “Musikpflege [und] Volksschauspiele,” Telfer Buch (Schlern-Schriften 112), Innsbruck 1955, p. 303;
Konrad FISCHNALER, Innsbrucker Chronik 2, Innsbruck 1929, p. 134, 137.

[32] Rudolf SINWEL, “Die Hauptförderer des Tiroler Volksgesangs,” Tiroler Heimatblätter 6 (1928) p. 301ff;
Karl LEIPERT, Hundert Jahre Tiroler Sängerbund 1860-1960 (Schlern-Schriften 211), Innsbruck 1960, p. 96, 111, 117;
Konrad FISCHNALER, Innsbrucker Chronik 2, Innsbruck 1929, p. 134, 137;
Konrad FISCHNALER, Innsbrucker Chronik 5, Innsbruck 1934, p. 42.

[33] Hans KRAMER, “Beiträge zu einer Chronik von Sterzing und Umgebung 1814 bis 1914,” Veröffentlichungen des Museum[s] Ferdinandeum 31 (1951) p. 465, 471;
Karl LEIPERT, Hundert Jahre Tiroler Sängerbund 1860-1960 (Schlern-Schriften 211), Innsbruck 1960, p. 63, 65f.
Gabriele ENSER, “Sterzing: Musikleben einer Kleinstadt im Spätmittelalter,” Musica vocalis: Singen in Südtirol einst und jetzt, ed. Südtiroler Sängerbund, Bozen 1989, p. 29;
Konrad FISCHNALER, Innsbrucker Chronik 2, Innsbruck 1929, p. 136.

[34] Konrad FISCHNALER, Innsbrucker Chronik 2, Innsbruck 1929, p. 133ff;
Konrad FISCHNALER, Innsbrucker Chronik 4, Innsbruck 1929, p. 333, 342.

[35] Giuliano TONINI, “‘Una vera famiglia di artisti’: I Busoni a Trento, Arco, Rovereto e Bolzano nel dicembre-febbraio 1878-1879,” La musica a Milano, in Lombardia e oltre [1], ed. Sergio Martinotti, Milano 1996, p. 219ff.

[36] Otto STOLZ, Meran und das Burggrafenamt im Rahmen der Tiroler Landesgeschichte (Schlern-Schriften 142), Innsbruck 1956, p. 156;
Ludwig STEUB, Lyrische Reisen, Stuttgart 1878, p. 79, 162, 346, 373;
Ludwig STEUB, Herbsttage in Tirol, 2nd edn, Munich 1889, p. 278f;
Angelika KUPPELWIESER, “Meran im Spiegel seines Musikgeschehens,” Musica vocalis: Singen in Südtirol - einst und jetzt, Bozen 1989, p. 39f;
Johanna BLUM, “Bozen als Musikstadt,” Jahrbuch des Südtiroler Kulturinstitutes 8 (1973) p. 413;
Georg TENGLER, “Das Eichbornorchester in Bozen-Gries,” Der Schlern 58 (1984) p. 206ff;
Rupert CORAZZA, “Volksmusik aus dem Ultental,” Jahrbuch des österreichischen Volksliedwerks 7 (1958) p. 67;
Karl HORAK, “Der Volkstanz im Burggrafenamt,” Jahrbuch des österreichischen Volksliedwerks 12 (1963) p. 77;
Rainer GSTREIN, “Innovationsprozesse in der instrumentalen Volksmusik - dargestellt am Beispiel der Tanzmusik-Ensembles in Österreich in der ersten Hälfte des 19. Jahrhunderts,” Jahrbuch des österreichischen Volksliedwerks 34 (1985) p. 57.

[37] Walter FRENZEL, 90 Jahre Städtisches Orchester: Eine Geschichte zur Entstehung und Entwicklung des ‘Innsbrucker Symphonieorchesters 1, Innsbruck [1983], p. 1ff, 13ff, 22ff.

[38] Hermann EGGER, Die Entwicklung der Blasmusik in Tirol, typescript, PhD Innsbruck 1952, p. 40;
Johann GÄNSBACHER, Denkwürdigkeiten aus meinem Leben, ed. and commentary Walter Senn, Thaur 1986, p. 79f;
Konrad FISCHNALER, Innsbrucker Chronik 2, Innsbruck 1929, p. 130;
Hartmann EGGER, Geschichte des Innsbrucker Schützenwesens 1814-1870 (Veröffentlichungen des Innsbrucker Stadtarchivs, new series 8/9), Innsbruck 1978, p. 278ff, 301, 395ff;
Ida FEURSTEIN, “Kapellmeister Philipp Jakob Katschthaler. Eine Lebensskizze,” Tiroler Heimatblätter 9 (1931) p. 164f;
Otto STOLZ, Meran und das Burggrafenamt im Rahmen der Tiroler Landesgeschichte (Schlern-Schriften 142), Innsbruck 1956, p. 155f;
Alois BAURSCHAFTER, “Von der Musikalität im Burggrafenamt,” Meraner Jahrbuch 7 (1948) p. 54;
Hans KRAMER, “Beiträge zu einer Chronik von Sterzing und Umgebung 1814 bis 1914,” Veröffentlichungen des Museum Ferdinandeum 31 (1951) p. 471;
Antonio CARLINI, “Dal XVII al XIX Secolo,” Musica a Mezzolombardo; Dalla Chiesa alla Banda: spettacolo e cultura tra XVII e XX secolo, Mezzolombardo 1989, p. 80.

[39] Max SCHÖNHERR and Eugen BRIXEL, Karl Komzák Vater - Sohn – Enkel: Ein Beitrag zur Geschichte der österreichischen Popularmusik, Vienna 1989, p. 20, 32ff, 50, 317.