In the fall of 1973, Hans Kumpf completed a work on music theory entitled „Wechselwirkungen und Parallelen zwischen Strömungen in der Postseriellen Musik und im Jazz seit 1960“. Jazz Podium has since published revised and supplemented parts of it. (in German)

Here is an interview given by Hans Werner Henze during his first visit to Cuba on the occasion of the Cuban premiere of Das Floß der Medusa:

In his autobiography, Hans Werner Henze remembers the circumstances of the cancelled premiere of his oratorio "The Raft of the Medusa" on 9 December 1968 in Hamburg.

After the assassination attempt on Rudi Dutschke and his expulsion from Switzerland, Dutschke recovers at La Leprara, 1968. Excerpt from the autobiography "Reiselieder mit böhmischen Quinten: Autobiographische Mitteilungen 1926–1995"

On 18 February 1968, 12,000 people demonstrated in Berlin against the Vietnam War.

The new opera "The Young Lord" by Hans Werner Henze. A report on an opera in two productions, in two interpretations. Comparison of the world premiere in Berlin and the production in Stuttgart. (Source: swr)

In the interview with Friedrich Luft, the composer Hans Werner Henze talks about his musical work and his views on the function of music. Among other things, he addresses mass culture, working on commissioned works, and the distancing of contemporary music from the audience. His works for the theater and his love of opera are also covered in closer detail. (Source: rbb)

As part of the WDR radio series ‘Musikalisches Nachtprogramm’, he gives an introduction to his work ‘Antifone’, which was premiered in Berlin on 20 January 1962 under the baton of Herbert von Karajan. (Source: WDR)

Hans Werner Henze composed the opera "Elegy for Young Lovers" commissioned by the Süddeutscher Rundfunk. The world premiere is on 20.05.1961 for the opening of the Schwetzinger Festspiele. An announcement of the world premiere with exclusive insights into the production can be seen in the ARD Mediathek in the section "SWR Retro - Abendschau". (Source: SWR)

The composer talks to Dethardt Fissen about Heinrich von Kleist’s play and how it came to be turned into an opera – thanks in part to Ingeborg Bachmann. (source: NDR)