A Baroque Bite: musical Explorations of the Linzer Torte Dominate Year-End Programming
A fascinating confluence of medieval history, culinary delight, and avant-garde music is captivating audiences as 2025 draws to a close. A recent program has centered around the surprisingly baroque origins of the beloved Linzer Torte, sparking a series of musical and cultural investigations.
The year-end initiative, detailed in program notes released on December 27, 2025, began with extensive intellectual journeys into the Middle ages, focusing on figures like the Nibelungs, Babenbergs, and the Byzantine Empire. Though, a notable seven hours where also devoted to “table delights,” ultimately leading to the revelation that the iconic Linzer Torte wasn’t the medieval creation many assume. “When we finally realized that the famous ‘Linzer Torte’ was clearly a baroque invention, it was clear which sweet we wanted to devote more time to,” a program representative stated.
this realization fueled a deep dive into the cultural history of the pastry, resulting in a unique program featuring “musical Linzer Tortes” and explorations of its legacy. The program showcases a diverse range of composers and performers, from the experimental soundscapes of Werner Dafeldecker to the baroque mastery of Georg Philipp Telemann.
The playlist is remarkably eclectic. Listeners can experience Gerhard Rühm’s “Baking cakes – for speaking quartet,” performed by Ensemble Belcanto, a piece rooted in traditional German folk songs. Contemporary interpretations are also featured,including a rap rendition of “Linzer Torte” by Texta,alongside contributions from Waiszbrohd and CRB & Boomer.
Beyond contemporary takes,the program delves into historical compositions. Romanus Weichlein’s Sonata X offers a baroque counterpoint, performed by Ars Antiqua Austria, while Telemann’s Overture “L’Omphale” in E minor – presented by the Elbipolis Baroque Orchestra Hamburg – provides further context. The inclusion of Father Benedikt Lechler’s Alma Redemptoris Mater, performed by Bell’Arte Salzburg, adds a layer of sacred musical tradition.
The program isn’t limited to traditional instrumentation. Andrea Sodomka’s “Café concrete,” described as a Klangobjekt (sound object), exemplifies the program’s willingness to push boundaries. Similarly, Dafeldecker’s “Geography cake (detail)” features a complex ensemble including bass, guitar, piano, trumpet, saxophone, trombone, and clarinet.
Further enriching the experience, a performance from June 22, 1986, featuring Gerhard Rühm at the Brucknerhaus Linz, is revisited. This performance, titled “Tickle between cheese and cake, a gluttony,” includes spoken word pieces and chansons, with Rühm exploring themes of indulgence and excess. A quote from the performance itself – “Why chastise yourself in barracks, better chew in casinos…” – encapsulates the program’s playful and provocative spirit.
Rounding out the selection are lute pieces by Ferdinand Fischer, offering a glimpse into the musical landscape of Kremsmünster Abbey. These selections,performed by Hubert Hoffmann,provide a delicate and intimate contrast to the more expansive orchestral and ensemble works.
This year-end program demonstrates a unique approach to cultural exploration, seamlessly blending historical research, culinary recognition, and musical innovation. It’s a testament to the enduring power of the Linzer Torte – not just as a pastry, but as a source of inspiration for artistic expression.
