Music has always been highly mobile and musicians have been crossing cultural and physical borders for centuries, both voluntarily and as a result of inhospitable ideological, economic and environmental forces in their homelands. This project investigates the relationships that develop between migrants and their adopted host society, and how they manifest in their own creativity, each crucial to evaluating the cultural impact of migration. However, our understanding of the role of mobility and migration in shaping musical culture as a whole is as yet limited. This project brings fresh methodological approaches to the study of the experiences, musical lives and subsequent impact on British musical culture of musicians who came from Nazi-ruled Europe in the 1930s and '40s. Many of them went on to make major contributions to the successful reinvigoration of art music in the ensuing decades. The project will investigate and map the journeys and careers of approximately 30 musicians as they negotiated and helped to form aspects of British musical life in the post-war period as influential teachers, composers and performers, and in major institutions such as opera houses, the BBC, and higher education. It will explore how musical skills, traditions and values were transported and exchanged, and how these interactions affected the migrants themselves, local musicians, and public musical life at large. The project also probes the practical challenges of performing and mediating their compositions-which are defined by multiple trans-national cultural influences and traditions-through a programme of experimental open rehearsal workshops. Selected works by migrant musicians that for various reasons have remained hidden will be explored by professional and student musicians, and contemporarily relevant approaches to their presentation in performance will be tested in public. Through practice-based research, we aim to bring a fresh dimension to conventional musical analysis, highlighting the cultural value of this music for contemporary audiences interested in its broader historical context. The project includes a structured programme of research in a dozen major archives in the UK, Germany and Austria pertaining to this history, and in particular two key institutions, Glyndebourne Festival Opera and the Anglo-Austrian Music Society in London, both critical in different ways to the impact of this group of migrants on the shaping of post-war British music. Archival and historical research combined with images, oral history interviews and recorded performances will form the basis for the creation of a series of on-line 'story maps' that use geo-visualisation software to present multi-perspective narratives combining text, images, video and audio, and dynamic links to a host of relevant additional resources. From the start of the project we aim to facilitate dialogues between scholars and artists working within the context of mobility and migration today. The project team will develop a theoretical understanding of the relationship between musical cultures, mobility and migration that can benefit future research. A symposium co-hosted by the Austrian Cultural Forum will set out the scope and direction of a cross-disciplinary debate; a series of scholarly journal articles by the PI, Co-Is and RAs will develop specific themes; and an international conference co-hosted by the German Historical Institute will extend debate to other examples of music, migration and mobility. Public exhibitions at three partner institutions will complement the project's website, which will integrate the c.30 story maps, institutional case-studies, videos of workshops, performances and oral history interviews, textual commentary, and free-to-download music editions into a rich resource for the benefit of school students, musicians, educators and scholars who wish to find new approaches to our culture, characterised as it is by migration and mobility.

This project will participate in international efforts to provide full critical resources for the study of the great Austrian Modernist writer, Arthur Schnitzler (1862-1931). There is no other German-speaking author with the established international prominence of Schnitzler still lacking a critical edition. This is in part due to the historical contingency of the bulk of this Jewish writer's papers being saved from Vienna in 1938 and brought to Cambridge, in part also to the challenging nature of the author's handwriting, especially in the earlier documents. The editorial work that has been carried out on his writings is limited, and such editions of individual works or collections of texts as do exist are of mixed quality. With this piecemeal picture, there is a pressing need for a comprehensive and reliable critical edition of the literary and associated writings, with scholarly commentary and apparatus. The fundamental objective here is to reveal the still part-hidden creative identity and writing processes of this very significant author. A large community of scholars - academics and students - would stand to draw great benefit from the new critical resources that are proposed. Schnitzler is an author whose career spans the entire epoch of Classical Modernism (around 1890-1930), accompanying its development with a keen and productive sense of its problems and contradictions. While his work is often viewed through the clichés of certain recurrent themes (love, sex, dream, play, death), it in fact encompasses an extraordinary range, with crucial relevance to many of the key cultural and social discourses of his time. Schnitzler also often worked on individual texts over many years, even decades, and versions of one text would be incorporated into plans for another, not infrequently crossing genre boundaries. There is thus a complex genetic and contextual picture to be developed through the detailed editorial work. The UK team will produce editions of works from the important middle period of Schnitzler's career (1904-1914). This will cover three major canonical texts (the novel, 'Der Weg ins Freie' (1908), and the dramas 'Das weite Land' (1911) and 'Professor Bernhardi' (1912)), as well as five lesser-known dramas using puppet-like figures to explore questions of human agency. Analysis of the genetic development of this set of works will enable a massively enriched appreciation of a number of key themes for Schnitzler: Jewish cultural politics, medical ethics, embodied agency and performance, and the function of space and place. As well as investigating these matters for the purposes of Schnitzler scholarship, the team will explore their relevance to topical matters of concern through a strategic set of impact-related activities. The proposed edition will both provide an opportunity to appreciate the dynamics of the complex creative process that produced Schnitzler's published writings and offer an immensely rich basis for extensive, cultural critical research. At the same time, it will provide a model case for testing and advancing editorial principles and processes. Beyond the provision of reliable texts with critical commentary, the project aims to use innovative digital techniques to develop an exemplary reference resource. At the core of this is the production of an integral, digital edition of the author's works using XML (Extensible Markup Language). The digital edition will be embedded in a publicly accessible online portal, which will also provide other information on the author and his cultural connections and context. The project incorporates plans for a variety of other outputs, intended for both specialist and public benefit. There will be a series of conferences, workshops and symposia, in conjunction with a set of public presentations and performances. The core output through the digital portal will be supplemented by six major print publications, in monograph, edited book and journal form.