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Benjamin Boretz “Words for Music, Perhaps”? Texts, 1975-2013

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Benjamin Boretz “Words for Music, Perhaps”? Texts, 1975-2013 Benjamin Boretz “Words for Music, Perhaps”? Texts, 1975-2013 Current Musicology, No. 95 (Spring 2013) © 2013 by the Trustees of Columbia University in the City of New York 349 Benjamin Boretz Stockhausen: Donnerstag aus Licht Current Musicology forM(a music) Royal Opera House, Covent Garden, London, 18 September 1985 On Hearing FORUM82* at Symphony Space, New York by BENJAMIN BORETZ November 13, 1982, from 3 to 6 P.M. articulate forM(a music) Myis incarnateidea of a useful composer isform someone who leads you to your own musicarticulate Ð makes a composer of you. is incarnate fingertips Things are coming down as pieces Not all personal form acts are private. articulate voices fingertips But all personal acts are not incarnate public. articulate voices that shouldn't be pieces. incarnate Masterpiece composition is obso- lete, as a usable social medium. Formal acts which assert the articulate incarnations obsolescence of masterpiece articulate compo-incarnations articulate incarnate sition are on identical articulate grounds incarnate articulations incarnate They shouldn't be coming down as pieces. obsolete. articulations incarnate Reputation is the public space. What's left over that's neededvoice what should they be? is the personal space. Badlyforms needed but not adequatelyfingertip voiceor authentically being attendedfingertips to by anyone with ego or talentformsform enough to not compose an fingertipopera.voices (DONNERSTAG AUS LICHT: somethingfingertips I, There shouldn't be pieces. personally, needed to know to know why, personally, it wasn't,form What should there be isn't, something I needed voicesdone for me.) 11/82 (NEWS OF MUSIC, March 1986)B.A.B. March 1975 *part of an all-day "festival of music from around the world" sponsored by Composers' Forum Marjorie Tichenor, for whom this text was composed, composed a remarkable vocal composition out of her recorded reading of it. - 420 - B.A.B. March 1975 Marjorie Tichenor, for whom this text was composed, composed a remarkable vocal composition out of her recorded reading of it. - 420 - Current Musicology, No. 95 (Spring 2013) © 2012 by the Trustees of Columbia University in the City of New York 7 350 9 8 Current Musicology, No. 95 (Spring 2013) © 2012 by the Trustees of Columbia University in the City of New York 7 Benjamin Boretz Stockhausen: Donnerstag aus Licht Current Musicology forM(a music) Royal Opera House, Covent Garden, London, 18 September 1985 On Hearing FORUM82* at Symphony Space, New York by BENJAMIN BORETZ November 13, 1982, from 3 to 6 P.M. articulate forM(a music) Myis incarnateidea of a useful composer isform someone who leads you to your own musicarticulate Ð makes a composer of you. is incarnate fingertips Things are coming down as pieces Not all personal form acts are private. articulate voices fingertips But all personal acts are not incarnate public. articulate voices that shouldn't be pieces. incarnate Masterpiece composition is obso- lete, as a usable social medium. Formal acts which assert the articulate incarnations obsolescence of masterpiece articulate compo-incarnations articulate incarnate sition are on identical articulate grounds incarnate articulations incarnate They shouldn't be coming down as pieces. obsolete. articulations incarnate Reputation is the public space. What's left over that's neededvoice what should they be? is the personal space. Badlyforms needed but not adequatelyfingertip voiceor authentically being attendedfingertips to by anyone with ego or talentformsform enough to not compose an fingertipopera.voices (DONNERSTAG AUS LICHT: somethingfingertips I, There shouldn't be pieces. personally, needed to know to know why, personally, it wasn't,form What should there be isn't, something I needed voicesdone for me.) 11/82 (NEWS OF MUSIC, March 1986)B.A.B. March 1975 *part of an all-day "festival of music from around the world" sponsored by Composers' Forum Marjorie Tichenor, for whom this text was composed, composed a remarkable vocal composition out of her recorded reading of it. - 420 - B.A.B. March 1975 Marjorie Tichenor, for whom this text was composed, composed a remarkable vocal composition out of her recorded reading of it. - 420 - Current Musicology, No. 95 (Spring 2013) © 2012 by the Trustees of Columbia University in the City of New York 7 351 9 8 Current Musicology, No. 95 (Spring 2013) © 2012 by the Trustees of Columbia University in the City of New York 7 BenjaminBenjamin Boretz Boretz CurrentCurrent Musicology Musicology Stockhausen:Stockhausen: Donnerstag Donnerstag aus aus Licht Licht PROLOGUEPROLOGUE TO TO(“Whose (“Whose Time, Time, What What Space”): Space”): [A Seminar[A Seminar Talk Talk at Eastman at Eastman*] *] RoyalRoyal Opera Opera House, House, Covent Covent Garden, Garden, London, London, 18 18September September 1985 1985 BenjaminBenjamin Boretz Boretz by byBENJAMIN BENJAMIN BORETZ BORETZ OliviaOl Mattisivia Mattis was givingwas giving a historical a historical seminar seminar at the at Eastman the Eastman School School of of My Myidea idea of ofa usefula useful composer composer MusicMusic on composers on composers who whowere were also critics;also critics; Bob MorrisBob Morris suggested suggested she she is issomeone someone who who leads leads you you to toyour your ownown music music Ð makesÐ makes a composera composer of of inviteinvite two suchtwo such living living people people who who—not —not quite quite coincidentally coincidentally — live — live you.you. next nextdoor door to each to each other other in the in surroundings the surroundings of Bard of Bard College College in upstate in upstate NotNot all all personal personal acts acts are are private. private. ButBut all all personal personal acts acts are are not not New NewYork York — Kyle — KyleGann Gann was thewas other the other — to — talk to totalk the to seminar the seminar about about public.public. theirtheir accumulated accumulated insights insights from from within within that thatrole —role Kyle — Kylefor the for last the last MasterpieceMasterpiece composition composition is isobso- obso- lete,lete, as asa usablea usable social social medium. medium. fifteenfift oreen so or years so years writing writing for The for VillageThe Village Voice Voice and elsewhere,and elsewhere, I having I having FormalFormal acts acts which which assert assert the the beenbeen Musi Music Criticc Critic for The for NationThe Nation during during the 1960s. the 1960s. Kyle Kyletalked talked first, first, obsolescenceobsolescence of ofmasterpiece masterpiece compo- compo- recreatingrecreating expansively, expansively, in the in terms the terms of his of personal his personal history, history, the the sitionsition are are on onidentical identical grounds grounds obsolete.obsolete. celebratorycelebratory story story his book his book tells tellsof the of rise the of rise “his” of new“his” newgeneration generation of of ReputationReputation is isthe the public public space. space. AmericanAmerican music music (Later (Later on he on did he remark did remark that thathe had he oncehad once tried tried to live to live What'sWhat's left left over over that's that's needed needed is isthe the personal personal space. space. Badly Badly in [my]in [my]world, world, but it but was it toowas suffocating too suffocating — he — needed he needed more more oxygen, oxygen, he he neededneeded but but not not adequately adequately or or said.)said.) Our listenersOur listeners were were graduate graduate students students and professorsand professors — I saw — I saw authenticallyauthentically being being attended attended to toby byanyone anyone with with ego ego or ortalent talent amongamong them them my old my friend old friend Bob MorrisBob Morris and myand new my newfriend friend Martin Martin enoughenough to tonot not compose compose an anopera. opera. Scherzinger;Scherzinger; Martin Martin in particular in particular leapt leapt into intothe post-lecture the post-lecture (DONNERSTAG(DONNERSTAG AUS AUS LICHT: LICHT: something something I, I, personally,personally, needed needed to toknow know to to discussion,discussion, with with familiar familiar laser-energetic laser-energetic sharpness, sharpness, indicting indicting and and knowknow why, why, personally, personally, it itwasn't, wasn't, convcoictingnvicting my texts my texts of an of interesting an interesting if possibly if possibly illicit illicit fusion fusion of naive of naive isn't,isn't, something something I neededI needed done done forfor me.) me.) romanticromantic mysticism mysticism and manipulativeand manipulative disingenuous disingenuous duplicity, duplicity, perhapsperhaps accounting accounting for their for their strange strange transformation transformation of the of sound the sound of of (NEWS(NEWS OF OFMUSIC, MUSIC, March March 1986) 1986) the musicthe music we listened we listened to at to the at end. the Theend. talkThe aftertalk after that thatwent went on so on long so long that thatOlivia Olivia had tohad disappear to disappear to get to her get bus her home bus home to Buffalo to Buffalo well beforewell before we allwe fi nallyall finally subsided subsided to the to coffee the coffee shop shop next nextdoor. door. [My offering,[My offering, slightlyslightly modified modified by afterthoughts, by afterthoughts, follows.] follows.] ComposingComposing music, music, playing playing music, music, listening listening to music, to music, thinking thinking and andwriting writing aboutabout music: music: each each and andall plausible all plausible as a as person’s a person’s possible
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