Dear Audience,

To be alive means to be on the move. From the cradle to the grave,
we all make our own personal journeys − some more circuitous,
others more direct. As concerns individual development however,
each of us is on the same path − be it straight or winding, be the
destination clear or obscure. The first humans are known to have
been nomads, who moved about tracking seasonally changing flora
and fauna for their food supply. All of the world’s religions have
traditions of pilgrimage to holy places, and even today migration
is still an integral part of our lives: we commute to our place of
work and travel around the world. Sometimes we simply have to
get out for some fresh air and exercise. Mobility is the pulse of our
society, and the infrastructure of transport routes is the lifeline of
our economy.
From time immemorial musicians, too, have been on the go −
as  wandering  minstrels  and  travelling  virtuosos,  performers  and
composers. They were in search of new employment, or on tour
through town and countryside from one concert to the next. These
geographical migrations from place to place correspond to the technical
and stylistic changes which were taking place in music from one
era to the next, all of which lends an adventuresome dynamic to
the history of Western music. From the plainchant of the Middle
Ages through the achievements of the Early Music and New Music
movements,  to  the  developments  in  electronic,  improvised,  and
global  music  of  the  twentieth  and  twenty-first  centuries  there
have been repeated, radical upheavals in the concept of music. Mu-
sicians were always searching for something different, something
new and original.
The music scene in Cologne is yet another unique phenome-
non  born  of  migration.  Musicians  from  around  the  world  have
come here to study, to work, to teach, or to establish their own en-
sembles, societies, venues, publishing companies, and labels − and
continue to do so. Since the 1960s there has been incessant fluctu-
ation: continuous comings and goings, hopeful initiatives and new
enterprises as well as dissolutions, capitulations and bankruptcies.
The comingling and fusion of style in arts and media − between
music, art, theatre, literature, dance, film, and video − have always
been typical for Cologne, in the past and in the present digital age.
In all of these areas developers, researchers, experimenters, detec-
tives, and treasure hunters are always on the move − no matter
what path they may be on − whether it be to buried resources or
new frontiers.
Once again, in one hundred concerts internationally renowned
ensembles as well as young ensembles presenting themselves for
the first time can be heard. An external indication of continuous
migration, the 10th KÖLNER MUSIKNACHT presents itself in a new
light. Since 2005 the Initiativkreis Freie Musik (IFM), an association
of  independent  freelance  musicians,  ensembles,  presenters,  and
venues  has  been  the  organizing  force.  Participating  partners  are
KölnTourismus and Kulturradio WDR 3. Important supporters are
the Kulturamt der Stadt Köln and the Stabsstelle Events. In addition:
Landesmusikrat NRW, Sparkasse KölnBonn, Sparkassen-Kulturstif-
tung  Rheinland  and  the  Ministerium  für  Familie,  Kinder,  Jugend,
Kultur  und  Sport  des  Landes  Nordrhein-Westfalen.  All  of  these
cooperation, assistance and support in the networking of musical
protagonists in the city and the region are encouragements worthy
of our thanks.

Rainer Nonnenmann