Directorate-General for Education and Culture
Culture and Communication
Culture
GRANT APPLICATION FORM
“Mozart” Call for applications - Budget heading 15 06 06
Introduction
Before completing this application form, please ensure that you have read and understood the specifications. It may be useful to consult a copy of the specifications while completing your application.
In particular, you will need to make sure that you provide all evidence and fulfil all conditions required under the new financial regulations of the European Commission. In this context, please carefully follow the application checklist when compiling the application.
In order to apply for a grant, please complete the application form and attach the required annexes at the end. Do not attach documents other than those requested in the specifications. Additional documents will not be considered and will not be returned.
Applications must be typed. Hand-written applications will not be accepted.
After filling in the application form, check that it is dated and signed. Submit the original and one copy to the following address:
European Commission
Culture and Communication
Culture
B-100 - Office 5/21
B - 1049 Brussels
Belgium
Should there be any changes in your contact details at any moment during the selection procedure, please communicate it immediately to the same address, clearly indicating your project reference number.
Any applications faxed or sent by e-mail will not be accepted.
APPLICATION CHECK-LIST
1 / Application form (including detailed budget estimate) dated and signed / 2 / yes
2 / Acknowledgement of receipt indicating your address / 1 / yes
3 / Declaration by the project leader, with precise indication of its practical and financial contributions, bearing original signature / 2 / yes
4 / Signed declarations by co-funding institutions (see II. 9), if applicable. / 2 / yes
5 / Official proof of the project leader’s legal status, e.g. officially registered articles of association or statutes (with the exception of public bodies) / 1 / yes
6 / CV of the person in charge of overall co-ordination of the project / 1 / yes
7 / Recent activity reports of the organisation / 1 / yes
8 / Approved accounts for the last financial year for the organisation (except where the organisation is a public body or has just been established in which case approved accounts to date are sufficient). / 1 / yes
9 / Any material to support the application (e.g. relevant publications, programmes, images, drawings, examples of artists’ works etc.) / 1 / yes
10 / Declaration concerning Point 6 of certifications / 1 / yes
11 / Financial capacity form / 1 / yes
12 / Bank ID form signed by the organisation and their bank / 1 / yes
13 / Legal Entity form together with relevant documents signed by the organisation / 1 / yes
PART I:
Information on the applicant organisation
1.1 Name of organisation and acronym/abbreviation:
Kulturverein zur Förderung der Orpheon Foundation
Acronym/Abreviation: Orpheon
1.2 Legal status[1]: Private √ Public o
1.3 Registration number[2]: ZVR-Zahl 946638501
1.4 Date of establishment: 22.11.1989
1.5 Address: Street: Praterstrasse 13-1-3
Postcode: A-1020
Town/city: Vienna
Country: Austria
1.6 Tel. (including country and area codes): +431-21 430 21
1.7 Fax (including country and area codes): +431-9688245
1.8 E-mail:
1.9 Permanent staff employed by the organisation (number): none
1.10 Legal representative (person authorised to sign an agreement with the Commission):
Surname: Vázquez
Forename: José
Position: Vice-president
1.11 Contact person/project manager (person responsible for the general coordination of the work programme)[3]:
Surname: Opriessnig
Forename: Christa
Position: President
1.12 Person responsible for financial matters:
Surname: Vázquez
Forename: José
Position: Vice-president
1.13 Structure of the applicant organisation[4]
- Describe the structure of your organisation (independent association, federation, etc.)
Non-profit cultural association
1.14 Organisation’s usual sources of finance[5]
Exhibitions of the musical instrument collection, presentation of concerts, contributions of its members
1.15 Experience in the sector to which this application relates
The Exhibitions:
The first exhibition of the musical instrument collection was presented under the auspices of the Vienna University for Music and the Performing Arts in Palais Lowkowitz, Vienna, 1993. Since then Orpheon has presented exhibitions all over Europe and one exhibition in Taipei, Taiwan. The newest series began in 2004 in the Palais du Roi de Rome, Rambouillet, France, which enjoyed significant recognition in television and press. Many followed: Ibiza (Spain), Thoiry (France), Froville (France), Gijón (Spain), Duino (Italy), Tenerife (Spain), Mallorca (Spain). Our next exhibition will be held in Avignon, under the auspices of the Fondation Calvet and the Major of Avignon.
A photographic documentation and reports in the press of all of these exhibitions can be examined in the accompanying attachments.
The Concert Series:
A series of concerts illustrating the musical heritage which these instruments represent accompany the exhibitions, presenting music from Renaissance Spain, to the Baroque all over Europe, to the Classical Period of Mozart and Haydn. Artists from all over the world are invited to participate in these concerts, which employ almost exclusively the instruments in the collection.
The Course on Performance Practice:
The members of Orpheon, musicians recruited from all over Europe, have been presenting specialised courses all over Europe for many years. Please consult attachement for the most current information on these courses, as well as the press clippings.
Several television films have been made which document the work of the collection: the exhibitions, the concert and the courses and seminars, regularly held all over Europe. Copies can be made available, if requested.
Working hand-in-hand with Violin-Makers and Restorers:
The collection works closely with a number of violin makers, researchers and restorers from all over Europe and overseas. The availability of these priceless instruments to them is undoubtedly an important asset and a unique opportunity for these craftsmen. Many of the instruments have already been copied. The violin making school of Hallstatt, Austria has been entrusted with the task of drawing up construction plans of the major instruments of the collection for widespread distribution. Plans for the bass violas da gamba by Michael Albanus (Graz, 1706) and Edward Lewis (London, 1687) are already available.
The patrimony that the collection quite evidently represents is thus made available to professional musicians, students at the university and the conservatory level, to violin makers and, ultimately, to the general public.
1.16 Financial support previously obtained directly or indirectly from a European institution or Community body during the past three years[6]
Please give details of each grant obtained:
Community programme or budget heading / Project title / Year and contract reference number / Grant amountnone
(Add a further A4 page if necessary)
1.17 Has your organisation submitted, or does it intend to submit, a grant application for this project or another project in the same sector to another Commission department? (Please specify the DG, the programme or initiative concerned, and the result of your application)
No.
If yes, please sign the following declaration:
I am fully aware that my organisation is not entitled to receive more than one grant from the Commission for the action covered by this application and will therefore withdraw any other application for any other grant from the Commission should this application be successful, or will withdraw this application should any other application be successful.
Date: Signature: ______
PART II
Information on the project for which you are requesting a grant
In Annex 5, please attach any material that could help to support the application, illustrate the project and allow a more thorough evaluation of the project and its organisers.
II.1 Title of the project
A Proposal for an Exhibition Using Rare and Unique Historical Musical Instruments of the Time of Mozart as well as a Concert Series and Courses on these Very Instruments
II.2 Description of the project in ENGLISH (compulsory) AND either FRENCH or GERMAN. This description should under no circumstances be longer than 1-2 A4 pages and 1 000 words.
Please provide a concise and clear summary that includes information on all of the following points:
- What activities are planned? When and where?
Part I: Two Exhibitions of the Collection
(Rare and Unique Historical Musical Instruments of the Time of Mozart), with special emphasis on the Instruments of the Habsburg Empire before and during Mozart’s lifetime. Duration: between 4 and 8 weeks each
1. Salzburg, Barockmuseum, May-June 2007
2. Augsburg, Toskanische Säulenhalle, June-July 2007
Part II: Two Courses on Performance Practice of Early Music
in Augsburg , Salzburg, duration of 7 to 10 days each, with at least 4 tutors, each from a different European country, to conclude with a student concert.
Learning Programmes, geared to bring the cultural heritage of these instruments to professional musicians, conservatory students and the general public in order to better understand Mozart’s work and the Classical Heritage.
Part III: Series of Concerts on the Instruments of the Collection
with a pronounced didactic or illustrative nature, shedding light on the roots, the development and the heritage of Mozart’s compositional genius.
Two series of concerts, consisting of four concerts, with between 3 and 7 musicians each. The artists will be recruited from all over Europe (see attached documents for details)
- What are the objectives of the project and how will these be achieved?
The cultural heritage represented by the fine instruments of the collection, classified as “unique in the world” by the directors and curators of the most important museums of musical instruments in the world (see attachments) , will be brought to a larger audience. Our experiences in the recent past have demonstrated beyond a doubt that an exhibition of these instruments draws vivid interest: the exhibitions are exceptinally well-visited (verified by the television films and the press clippings. See attachments)
Awareness of this valuable patrimony and its significance in the aesthetics of sound and subsequently, in the interpretation of music will be stimulated.
- What results are anticipated on a long-term basis?
Long years of experience in Jindrichuv Hradec (CZ), Ibiza (E), Thoiry (F), Cossington (GB), Vienna (A) and elsewhere, the presence of the exhibition and these instruments awaken a lasting interest on the part of music teachers and students alike, leading usually to the establishment of courses and concert festivals in the places visited over longer periods of time. (For a thorough documentation, see the attached documents.)
- What is the added value of the action on a European level?
The collection is in itself a worthy monument to the Art of the European Instrument Makers.
The series of concerts brings together artists from a large number of EU member states, all of
whom have had an opportunity to work with the instruments of the collection and perform in
many locations throughout Europe. Access to these fine original instruments is given to scholars,
instrument makers and restorers, which they would otherwise not have, since the instruments in
public collections are as a rule kept in confinement.
- Who will benefit from the project?
Professional musicians, music teachers, violin makers, schools of violin making,
conservatories, schools and colleges, the general public, perhaps for many years to come.
II.3 Detailed description of the activities for which financial support is requested
Please attach a precise programme of the activities planned under your project. For each activity, please provide on one separate sheet (to be attached to this form) a description of the activity itself, its objectives, the involvement of the partners if applicable, the target group, an indicative timetable, and the expected results.
Please also list any subcontracting bodies involved in your project and indicate under which budget heading you have entered costs related to the activities to be implemented by these bodies.
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II.4 Who are the partners that will be associated with the project (if there are any)?
Names of partners at local or regional level / Role of partners in the conception and implementation of the projectArtevent, Vienna / Artevent has generously volunteered to aid us in the preparation and submission of this project. As we, Orpheon, have never applied for public subsidies before, we are very thankful for the expert advice and council we have been getting and will get in the implementation of the project at its future stages.
Without their help, you would not be reading these lines.
Names of partners at national level / Role of partners in the conception and implementation of the project
The Violin Making School of Hallstatt, Austria
Verena Lobisser / The teachers of this School have been working with the instruments of the collection for years. They will design and build an installation: “A Violin-Making Workshop of the Time of Mozart”. Pupils of the school will also participate in the exhibitions during the weekends: they will come and establish themselves at the exhibition and build instruments during the exhibition: a sort of “living installation”. They will also be able to communicate with the visitors.
Realisation of a brief documentary film on the violin-making installation for the exhibition and on the whole project as such.
Names of partners in other European Union Member States countries / Role of partners in the conception and implementation of the project
Les Festes de Thalie (Thoiry, France) / This French Festival will provide an installation and materials on the other major composer being celebrated in 2006, namely, Marin Marais (born 1656), a viola da gamba player of the Court of Versailles, as a contribution of note to our Mozart exhibition.
Add a page if necessary
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II.5 Project implementation programme
Project starting date[7]: 01/11/2006
Project finishing date[8]: 01/11/2007
Detailed timetable for implementation of the work programme
Month / Action(s) / Anticipated cost in €Nov-Dec
2006 –
February 2007
March-April 2007
May-June 2007
June-July 2007
August 2007 / 1. Organisation of Project Logistics: timetables
2. Preparation of Promotional Materials
Publicity brochures, press releases, advanced publicity in magazines, newspapers
3. Research, study and preparation of the repertoire of the concerts of the exhibition
4. Designing new displays for the exhibition: audiovis,
5. Securing travel tickets for personnel, musicians, teachers of the exhibition
1. Securing logistics of transport and assembling of the exhibition.
2. Securing personnel for the duration of the exh.
3. Contacting schools, institutions: scheduling guided visits, workshop participants.
4. Securing transportation of the collection
5. Preparation and rehearsals for the concerts
6. Printing of broshures, the visitor’s guide to the exhibition, all written materials for the exhibition
______
First Exhibition – in Salzburg
First Concert Series______
Second Exhibition – in Augsburg
Second Concert Series______
Assembling materials for a memory of the events, report on the experience. Calculation of budget, letters of recognition of gratitude, consultation with participating musicians, teachers, analyses of the events with recommendation for future projects. / € 60.000
______
50.000
______
48.000
______
40.000
______
2000
II.6 Project location(s): Salzburg and Augsburg (exhibitions), Vienna (place where the preparation for the exhibitions and the concerts will be realised, since our members live here).