Wendelin Bitzan

In a recent interview in the neue musikzeitung, Claus-Steffen Mahnkopf, a prolific composer and professor at Hochschule für Musik und Theater Leipzig for almost 20 years, admits that he has no idea why there are hardly any domestic applications for studying composition at music universities in Germany. After that, he complains at length that his works and conceptions, which he routinely submits to orchestras and opera houses to be considered for performance, keep being rejected all the time. Seriously, Herr Mahnkopf? I wonder how somebody involved in the training of composers for decades can be so clueless about the deficiencies in pre-university education, and the immense decline in meeting the preconditions needed for applying to a music university. And, besides this discomforting lack of care for the young generation, both he and the interviewer fail to notice the obvious interconnection of the two issues in question: the absence of a sustainable and integrative system of encouraging and supporting young people in a possible professional career in music, and the alienation of classical music business from everything topical and contemporary. Shouldn’t a professor of composition be more concerned about the future of his profession, and at least take interest in strategies of how teenagers can be introduced to composing and performing new music? Nearly every of Mahnkopf’s sentences demonstrates that somebody is speaking who totally lost contact with the basis of early education and promotion of young musicians. #ivorytower #upperclassproblems