Constraints and Freedom: a Conversation with Georg Katzer
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Martin Supper Constraints and Freedom: Berlin University of the Arts UNI.K | Studio for Sonic Art and Sound Research A Conversation with Fasanenstraße 1B, 10595 Berlin, Germany [email protected] Georg Katzer Abstract: This interview sheds light both on a composer and on a hitherto overlooked field, the evolution of electroacoustic music in the former German Democratic Republic (GDR, commonly called East Germany). This latter focus is vital insofar as little of it, if anything at all, is included in established histories of electroacoustic music. These typically take Cologne, Paris, or New York, together with the associated institutions and composers, as starting points, with nary a word for the GDR or elsewhere. The composer Georg Katzer was a key personality in this era. In this conversation he discusses the genesis of electroacoustic music in the GDR, the influences of studios from other countries, the development of the electronic musical instrument known as the Subharchord, establishing a studio (under conditions which, despite adversity, also gave rise to results of a distinctive charm), formal affiliations with international organizations, and much more. Georg Katzer (see Figure 1) was born in 1935 in operas, two ballets, and electroacoustic works, Habelschwerdt, Silesia (then part of Germany, Katzer is involved with multimedia projects and now belonging to Poland). He studied composition improvised music. He has toured Europe playing with Rudolf Wagner-Regeny and Ruth Zechlin, with Johannes Bauer, Wolfgang Fuchs, Paul Lytten, as well as piano, at the Deutsche Hochschule fur¨ Radu Malfatti, Phil Wachsman, Phil Minton, and Musik in East Berlin (now the Hochschule fur¨ Tony Oxley among others. Musik “Hanns Eisler”) and then at the Academy of Katzer lives outside Berlin as an independent Performing Arts in Prague. This was followed by composer. He is a member of the Academy of studies with composer Hanns Eisler in his master the Arts (Berlin-Brandenburg) and of the Institut class at the Academy of the Arts (Akademie der international de musique electroacoustique´ de Kunste,¨ AdK) in East Berlin. In 1978 Katzer was Bourges. elected to membership of the AdK, and two years By way of context, it may be worth adding that later he was appointed professor and led a master there was an “official” historiography of German class for composition there. In 1980 he also held a electroacoustic music, familiar to anyone who, guest professorship at Michigan State University. like me, grew up in West Germany and had an In 1982 he founded the Studio for Experimental interest in music using technology. This history was (Electroacoustic) Music at the AdK, and he is still always linked to certain names and institutions: active as the Studio’s artistic director. Werner Meyer-Eppler, Robert Beyer, Herbert Eimert, Katzer has received composition awards from Karlheinz Stockhausen, Gottfried Michael Koenig, both the former German Democratic Republic Westdeutscher Rundfunk Koln¨ (WDR, West German (GDR, i.e., East Germany) and the Federal Republic Radio in Cologne), and so on. The year in which this of Germany (the former West Germany and now history began may have varied: 1949 saw book titles the reunified nation), including the prestigious by Werner Meyer-Eppler, 1951 and 1953 the early Bundesverdienstkreuz (Federal Cross of Merit). activities at WDR, and so on. East Germany, the He has also won prizes from Groupe de musique GDR, was hardly mentioned at all, if ever, in this experimentale´ de Bourges (GMEB) and the Reine telling. There is documentation to be found in East Marie Jose´ prize in composition, and he was guest German technical journals, but it is often difficult of honor at the Villa Massimo in Rome. Alongside to access—see, for instance, the reports by Kai-Erik his compositional output, which includes works Ziegenrucker¨ (1987) or by Andre´ Ruschkowski for orchestra, solo concertos, chamber music, three (1993). This part of the history—more precisely, the relevant activities—in East Germany was one that Computer Music Journal, 42:3, pp. 8–16, Fall 2018 I only gradually came to be aware of: From 1972 doi:10.1162/COMJ a 00477 onwards, living in West Berlin, it was possible to c 2018 Massachusetts Institute of Technology. attend concerts in the eastern part of the partitioned 8 Computer Music Journal Downloaded from http://www.mitpressjournals.org/doi/pdf/10.1162/comj_a_00477 by guest on 01 October 2021 Figure 1. Georg Katzer in Figure 2. The Subharchord (1964), Gerhard Steinke Zeuthen, Germany. used in the Bratislava (1966), Tatjana (Photograph by Angelika Studio, now located in Bohme-Mehner¨ (2011), and Katzer.) Vienna. (Photograph by the overview available at Andrew Garton.) For www.adk.de/en/academy further details, see the /studio-for-electroacoustic articles by Ernst Schreiber -music/subharchord.htm. city. Likewise, there were the nighttime broadcasts from Radio DDR II (one of the East German state broadcasters). Here I came to know, be it through to develop a new musical instrument called the radio broadcasts or live concerts, of numerous East Subharchord, which generated sounds electronically German composers producing, to varying degrees, (see Figure 2). This instrument was actually built, electroacoustic music. Concerts were mostly held and it formed the center of a working studio. That in the Palace of the Republic, home both to the was a laboratory for research and development. parliament of the GDR and also a showcase for [Author’s Note: This was the Laboratory for cultural activities. There were also workshops on Acoustic/Musical Boundary Problems, founded electroacoustic music held in the AdK of the GDR. 1956 in the Adlershof district of Berlin as a research In a manner of speaking, I already came to view and development laboratory. Headed by Gerhard as a key personality in all of these activities the Steinke, it was part of the Operations Laboratory for composer Georg Katzer. Broadcasting and Television department of the East This interview took place on 18 April 2018 at German Postal Service, later renamed as Radio and the composer’s home in Zeuthen, Germany. It was Television Central Office and abbreviated RFZ.] conducted in German and subsequently edited and So there were plenty of technicians and enthu- translated, in consultation with the interviewee. siasts there for whom soldering together a ring modulator from scratch was no problem. Filters were available, as would be the case in any broad- Beginnings of Early Electroacoustic Music in East casting studio. So this studio started its work, and Germany: Adlershof and the Subharchord some composers came to work there. For example, Siegfried Matthus [b. 1934] realized a piece for voice Martin Supper: What were the beginnings of electro- and tape, Galilei (1966), based on a text by Berthold acoustic music in the GDR, and how did it develop? Brecht. A number of other composers also worked Georg Katzer: Well, I need to go back a bit further there. Unfortunately, I arrived a bit too late. By the into the past to give an improvised history of electro- time I was interested and wanted to work there, acoustic music in the GDR. We should really go back the studio had been closed . there were reasons to the 1950s and the years immediately following. of cultural politics, of course. The reasoning was But by the start of the 1960s, there was an initiative simple: If they were doing things like this in West at the RFZ [Rundfunk- und Fernsehtechnisches Germany, in Cologne, then obviously that sort of Zentralamt, or Radio and Television Central Office] thing wasn’t going to be done in the GDR. Supper 9 Downloaded from http://www.mitpressjournals.org/doi/pdf/10.1162/comj_a_00477 by guest on 01 October 2021 The Subharchord was actually conceived for other hand they gave me a scholarship to produce a “Mickey Mouse” effects and the like, for use in work of electronic music. soundtracks of animated cartoons. But it was a Later, Lothar Voigtlander¨ [b. 1943] also worked at real working instrument with a playable keyboard. the studio in Bratislava. And Peter Kolman [b. 1937], Aside from that, there were some similarities with director of the studio, sent my work Bevor Ariadne the trautonium, but it was based on frequency kommt (1976) to the festival in Bourges. To my dividers. So you didn’t work with the overtone surprise, I was awarded a prize for the piece there, and series but with subharmonics, and naturally with I was even granted a visa allowing me to go to France common waveforms. But what was extraordinary, I to receive the prize. That trip allowed me to make have to say, were the filters, a filter bank, so-called contact with the studios in Stockholm, Belgrade, and Mel filters. These were band-pass filters following Warsaw, and also with Michigan State University. the sensitivity of the human ear. They had such Thus the gates had been opened, so to speak, for extremely steep cutoffs that you could filter out me to work in this direction. But, as I indicated, a single sound in the middle of white noise. And there was no possibility to realize electroacoustic because the device had an external input, you could music in the GDR, except—somewhat later—in make really wild sound edits. What was particularly TiP. nice was that you could “play” the filters directly [TiP was the Theater in the Palace of the Republic. from the keyboard. The building was conceived as a “House for the After the first prototype Subharchord, seven or People,” based on ideas championed in the 19th eight further units were built, and one of them ended century, notably by the socialist labor movement. up in the studio in Bratislava [Electroacoustic Studio These ideas were also behind several buildings of the Slovak Radio].