Musikalische Heimatkonstruktionen

How can music refer to the concept of ‘home’, and what conclusions can be drawn from this for aesthetic concepts? Against the backdrop of these questions, two different compositions are examined which deal with the corresponding terminology in relation to cultural-historical and historical contexts: Stefan Heucke’s chamber music cycle Heimat. Seven Sketches and an Epilogue, Op. 49 (2006–07), and Olga Neuwirth's orchestral piece Masaot/Clocks without Hands (2013–14). In both cases, a specific conceptual construct of 'home' serves to establish certain types of artistic meaning-making and world appropriation, as well as the associated notions of cultural identity.

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