When Armin Köhler became editor for new music at SWR Baden-Baden in 1992 and, from 1993 onwards, as artistic director was solely responsible for the Donaueschinger Musiktage, he was a blank page for many from the West German contemporary music scene as well as belittled and underestimated for his GDR origin. He entered broadcasting as a career changer. At the SWR he developed new large scale formats, among others virtual talks with composers, compiled from several hours of interviews. 

For the Donaueschinger Musiktage, with extraordinary effort he managed to find external supporters in order realize abundant projects and provide a platform for many of today’s aesthetically uncompromising currents. Since 1994 sound installations were an integral part of the festival; an approach many German and international contemporary music festivals followed suit. During Armin Köhler’s tenure in Donaueschingen, sold-out concerts were the norm.

Armin Köhler was particularly fond of musical concepts that questioned and re-thought every aspect of music. Failure, as he told me just a few days ago, has been always a vital aspect of his life. Nothing drives personal development as much as failure. 

Thus it was Josef Anton Riedl’s paper music (a happening in which sheet music is torn apart) that opened his eyes for the world of contemporary music. Later, when he worked for Edition Peters, he became acquainted with the work of John Cage, who became a central figure and point of reference to him. While working for Peters he had the chance to study the American composer’s works inside out. When he was finally appointed artistic director of the Donaueschinger Musiktage, he started his first festival with Nam June Paik and Einstürzende Neubauten. 

In the past years, he supported a younger generation of conceptually thinking composers, which according to him have now evolved to create their first substantial works. Especially young composers where close to his heart hence he founded “next generation”, a large annual program giving 180 students the chance to experience Donaueschingen and meet the artists in lectures and workshops.

For him controversial debates as well as openness to critique were essential. He hated pleasing small talk phrases (“This again was a very nice line-up in Donaueschingen, Mr. Köhler…”). Most importantly he was spontaneous and willing to trust his gut, he was honest in his aesthetic judgment and in spite of all day-to-day business he always remained committed to the artists and the people he was working with.

In the end of January 2014, Armin Köhler and his wife Lore Späth visited our publishing house in Berlin. When his serious illness had already taken its toll in October, he could only follow his festival on the radio. Thanks to Armin Köhler many Ricordi composers were able to realize exceptional projects with more performances scheduled for Donaueschingen 2015. On behalf of all Ricordi composers and employees I say: Thank you, Armin!

Armin Köhler died in the night of November 15, 2014.


Till Knipper, November 16, 2014