About Das Orchester

Das Orchester

das Orchester — the German-language magazine for musicians and management — has appeared eleven times a year since May 1953 from Schott Music in Mainz, distributed in over 45 countries worldwide. The cooperation with the Deutsche Orchestervereinigung (today's unisono): the "Verbandszeitung", the "Organ" — "das dem lang gehegten Bedürfnis des Orchester-Musikers entspricht" (which corresponds to the orchestra musician's long-cherished need). The 20,000 sold — the world's largest musician job market (music-job.com, online since 2011) — the 70 years (2023) — the orchestra profession's paper.

Overview

The magazine serves the orchestra profession: the musicians, the management, the education, the medicine, the marketing. The ISSN and the identity — the journal's registration — deserves its telling. The ISSN 0030-4468 (print) — the Zeitschriftendatenbank's entry — registers the title: the 1953. The "deutsche Musikfachzeitschrift" (German music specialist journal) — the Wikipedia's description — defines the genre: the Fach. The eleven yearly — the "elfmal jährlich" — sets the rhythm: the monthly minus one. The 20,000 sold — the verkaufte Auflage — documents the reach: the profession. The editor-in-chief in Berlin — the publishing editorial office in Mainz — splits the geography: the capital and the publisher. The dasorchester.de and the journal path — the official website — serve the readers: the online — the 1953-2026, the ISSN 0030-4468, the orchestra profession's magazine. The 45+ countries' distribution — Germany, Austria, Switzerland plus the world — documents the reach: the German-language profession. The editor-in-chief in Berlin (the Littenstraße 10) — the publishing editorial office in Mainz (the Weihergarten 5) — splits the work: the association's capital, the publisher's home.

The education coverage — the Musikerausbildung, the Berufsalltag (professional everyday) — serves the players: the practice. The medicine coverage — the Musikermedizin — heals: the bodies. The marketing coverage — the Orchestermarketing, the Orchestermanagement, the Publikumsgewinnung (audience acquisition), the Kulturfinanzierung — manages: the institutions. The job market — the world's largest — deserves its telling. The Musiker-Stellenmarkt — the extensive part (a large part of the magazine) — carries almost all German orchestras' and radio choirs' vacancies: the Probespiele (auditions). The European and international bodies — the orchestras and choirs — advertise too: the world. The online since 2011 — music-job.com — digitized the hiring: the daily. The market's function — the profession's exchange — serves the musicians: the jobs — the vacancies, the auditions — the world's largest musician job market — das Orchester's signature — the hiring, in print and on music-job.com. The ICMA jury — the international honor — deserves its telling. The International Classical Music Awards' jury membership — "one of the most important European music magazines" (ICMA President Remy Franck) — recognizes the standing: the German print media's optimal representation. The editorial tradition and the important publishing house's background — the assets — reinforce the jury: the strength. The close symphony-orchestra connections — the symbol — serve the partnership: the gala concerts. Gerald Mertens's welcome — the fresh views' exchange, the flourishing music sector's hope — commits the magazine: the jury. The ICMA's compass — the independent body's latest artistic developments — guides: the classical. The membership's function — the honor — proves the standing: the orchestra magazine's Europe — the ICMA jury, since the joining.

History

das Orchester — the May 1953 first issue — emerged from the cooperation between the Schott-Verlag Mainz and the Deutsche Orchestervereinigung (founded autumn 1952): the association's paper. The first Geleitwort's (foreword) program — the instruction "über alle musikalischen und musikpolitischen Probleme" (about all musical and music-political problems), the connections among the orchestras and professional choirs — set the mission: the artistic and economic position's development.

The early decades — the "Bleiwüste" (lead desert) of text, the imageless covers like printed piano editions — gave way to the modern magazine: the photos. The Nachwuchs (young talent) concern — the 1950s/60s qualified-musician shortage — shaped the agenda: the education. The tariff politics — the hard Auseinandersetzungen with the Deutscher Bühnenverein — covered the labor: the contracts. The 70 years — the 2023 celebration — deserves its telling. The Schott blog's "70 Jahre das Orchester" (Gerald Mertens) — the May 1953 first issue's remembrance — recounts the founding: the Schott-Verlag and the Deutsche Orchestervereinigung (autumn 1952), the Geleitwort's program. The archive's view — the yellowed early issues ("Bleiwüste", the imageless covers like Klavierausgaben) — shows the beginnings: the text. The decades' themes — the Nachwuchs shortage (the 1950s/60s men-only), the foreign musicians' grudging tolerance, the Wirtschaftswunder connection, the tariff battles with the Bühnenverein — document the profession's history: the struggles. The celebration's function — the 70 years' marking — honors the continuity: the orchestra profession's paper — since 1953, eleven times a year. The unisono cooperation — the association's organ — deserves its telling. The unisono Deutsche Musik- und Orchestervereinigung e.V. — the Deutsche Orchestervereinigung's successor (founded autumn 1952) — co-publishes: the cooperation. The uni-sono.org's Klassikland page — the "Fachzeitschrift mit weltweiter Verbreitung" (specialist journal with worldwide distribution) — presents the title: the association's. The 030/827 90 80 — the Berlin contact — serves the members: the phone. The eleven print and online issues — the current information and topics (the professional orchestras, the Rundfunkklangkörper, the ensembles) — cover the spectrum: the management questions, the concert industry's trends, the orchestras' and audiences' future, the digital topics, the musician medicine, the sustainability, the concert formats, the music mediation, the Musikhochschulen. The organ's function — the association's paper — serves the members: the unisono's — the orchestra profession's voice.

Coverage and Content

The editorial program follows the orchestra year's agenda. The education coverage — the Musikerausbildung, the Ausbildungsprogramme (training programs), the Musikhochschulen — trains: the future. The professional coverage — the Berufsalltag, the Musik und Musikermedizin — sustains: the players. The mediation coverage — the Musikvermittlung, the Konzertformate (concert formats) — reaches: the audiences. The management coverage — the Orchestermanagement, the Orchestermarketing, the Kulturfinanzierung, the Nachhaltigkeit (sustainability) — leads: the institutions.

The international coverage — the Orchesterlandschaft (orchestra landscape), the Rundfunkchöre (radio choirs), the Publikumsforschung (audience research) — compares: the world. The music-life coverage — the Konzertreihen (concert series), the Musiktheaterpremieren, the Musikfestspiele, the Wettbewerbe, the Symposien — reports: the current. The instrument coverage — the Instrumentenbau (instrument making) — crafts: the tools. The review coverage — the books, scores, CDs, DVDs — judges: the new. The digital coverage — the Digitalthemen — modernizes: the 2020s.

Organization and Ownership

das Orchester is published by the Schott Music GmbH & Co. KG, Weihergarten 5, 55116 Mainz — in cooperation with the unisono Deutsche Musik- und Orchestervereinigung e.V. The old venerable music publisher's 1953 Neuland (new territory) — the journal — gave the continuity: the 1953-2026. The company portrait — the Schott-Music portrait — documents the founding: the Deutsche Orchestervereinigung cooperation. The pedagogy engagement — the üben & musizieren (35+ years), the Musik in der Grundschule, the Musik, Spiel und Tanz — complements: the education. The WERGO/intuition labels — the contemporary music's CDs — extend: the recordings. The mds logistics — the music distribution services (the 130,000 titles, the 10 million copies) — ships: the world. The editor-in-chief — Gerald Mertens, Frauke Adrians (Berlin, Littenstraße 10, 10179, 030/82790830) — leads the newsroom: the chefredaktion@dasorchester.de. The publishing editorial office — Rüdiger Behschnitt, Kerstin Siegrist (Mainz) — handles the publisher's: the Verlagsredaktion.

The business model follows the association-press pattern: the subscriptions (the 20,000 sold), the job-market advertising (the orchestras' vacancies — the world's largest), the display ads, the online. The 11x yearly (also digital) — the miz.org's listing (last changed 19 Jun 2026) — documents the rhythm: the eleven. The ICMA jury — the International Classical Music Awards' member — honors the standing: the European music magazine. Detailed current revenue figures are not publicly confirmed.

Digital Presence

The magazine's digital home is dasorchester.de: the journal — the issues — the online. The job market — music-job.com (online since 2011) — hires the world: the vacancies. The Facebook — facebook.com/orchester.magazin — extends the reach: the social. The Schott blog — schott-music.com's 70-years — celebrates the history: the 2023. The unisono page — uni-sono.org's Klassikland — presents the cooperation: the association.

The digital strategy follows the profession's logic: the print eleven for the depth — the education, the management — the job market online for the daily hiring — the auditions. As the orchestra magazine — the Schott-published Fachzeitschrift (the 1953 founding), the world's largest musician job market — das Orchester remains the profession's paper: the musicians, the management, and the music — eleven times a year in print, daily on dasorchester.de and music-job.com.