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Musikprotokoll 1999 Programmbuch

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Musikprotokoll 1999 Programmbuch STEIERMARK mo -x -o Xe u,% u, % !I!!! 0 ITI ITI_,, ,:: Z;u !!:u Zu, u,o ~~ n-1 G)~ ::c 0 . ITI :::-;: zo !"~ ::c r o· ITI r ,:: cn :u -1 ITI m O:!I u, mm ... ITI % ,0 :um ,0 ITI :u österreichischer Rundfunk Landesstudio Steiermark Marburgerstraße 20 A-8042 Graz Österreich 1 Argentinierstraße 30a A-1040 Wien ORF Landesstudio Steiermark Radio Österreich 1 Intendant Dr. Edgar Sterbenz KARTEN RESERVIERUNG ORF Landesstudio Steiermark E-mail: [email protected] Alfred Treiber Radio Österreich 1 KARTEN PREISE: Einzelkonzerte: ATS 100,- bis ATS 180,­ PRODUKTIONSTEAM Tages paß: ATS 300,- bis ATS 400,­ Programm: Christian Scheib Festivalpaß: ATS 1180,:- Organisation: Rosalinde Vidic 50 % Ermäßigung für Studenten, Schüler, Organisationsassistenz: Sandra Nöst Arbeitslose Internet-Redaktion: Franz Josef Kerstinger, Harald Domitner Musikprotokoll•Programmbuch: ATS 80,- Redaktionsassistenz Programmbuch: Musikprotokoll-Buch Form: ATS 80,- Fränk Zimmer Opernlibretto Dust: ATS 80,- Redaktion und Herausgeberin Form-Buch: Christian Scheib und Sabine Sanio VERANSTALTUNGSORTE Technische Leitung: Gernot Katzer Grazer Congress, Meßdienst-Leitung: Christian Zagler Sparkassenplatz 1, A-8010 Graz Bühnentechnik und Aufbau: Johannes THEATRO, Neubaugasse 6, A-8020 Graz Harpf, Gunter Kögl, Stephan Pichler, Culturcentrum Wolkenstein, Patrick Suppan, Bernd Sracnik Bahnhofstraße 110, A-8950 Stainach Lichttechnik: Thomas Bock Büro im Grazer Congress: IN FORMATION Eingang Albrechtgasse 3, 1. Stock ORF Steiermark - musikprotokoll Telefon: ++43/316 8049-38 Tel.: ++43/316 470-28224 oder 28227 Fax: ++43/316 470-28253 IMPRESSUM: E-mail: [email protected] Medieninhaber und Herausgeber: www.orf.at/musikprotokoll österreichischer Rundfunk, Publikationen: Programmbuch, Libretto zu Landesstudio Steiermark ,.Dust", CD, Themenbuch „Form" Für den Inhalt verantwortlich: Christian Scheib KARTEN BESTELLUNG Redaktion: Rosalinde Vidic Zentralkartenbüro Graz Umschlagentwurf und Layout: Karl Herrengasse 7, A-8010 Graz Markus Maier Tel.: ++43/316 83 02 55 Herstellung: Universitätsdruckerei Kartenzentrale des steirischen herbst: Klampfer, Weiz Tel.: ++43/316 81 60 70 Graz, 1999 2 INHALTSVERZEICHNIS Vorwort Seite 4 Programmübersicht Seite 6 Musikprotokoll 1999 im Internet Seite 8 Clemens Gadenstätter auf takt Seite 10 Tom Johnson loops for Orchestra Seite 10 Paul Steenhuisen Wonder Seite 10 Rupert Huber Why sync? Seite 14 Salvatore Sciarrino Ommaggio a Burri Seite 16 Brian Femeyhough String Trio Seite 16 Christian Fennesz 1.10.99 Seite 20 György Kurtag Signs, Games and Messages Seite 22 Beat Furrer Aria Seite 22 Marina Rosenfeld Fragment opera s (the heavens) Seite 26 Bernhard Lang Differenz/Wiederholung 2 Seite 28 Paul Steenhuisen Bread Seite 30 Gerard Grisey Quatre Chants pour franchir le Seuil Seite 30 Radian Seite 36 Dieb 13 formlos Seite 38 Robert Ashley Dust Seite 40 Depth Charge, DSL, Tosca Seite 42 Biographien Komponisten Seite 50 Biographien Interpreten Seite 60 Photographienachweis Seite 71 3 VORWORT erfolgt die Präsentation von Robert Ashleys neuer Oper in Stainach, Form ist the propriatorial signature of während im Grazer Theatro von Don­ the world on the artist's {lesh, permit­ nerstag bis Samstag nach den Kon­ ting the signature of the artist on the zerten jeweils die Musikprotokoll-Bar body of the work. öffnet (Depth Charge, DSL, Tosca). Brian Ferneyhough, 1999 Zu den Konzerthöhepunkten des Musikprotokoll ~ählen 1999 jene zwei Form is inevitable. Another conversa­ großen - groß schon in der Beset­ tion might be about situations, which zung wie in der Dauer - Werke, die are real/y complexes of possibilities. I als gemeinsame Kompositionsaufräge like the idea of producing a Situation von ORF-Musikprotokoll, steirischer that, before it disappears, produces a herbst und Salzburger Festspielen Situation, that produces a situation, vergeben wurden: Das Orchesterstück that produces a situation. Proliferati­ .,auf takt" von Clemens Gadenstätter, on, bounty. Music is ephemeral sowie das Werk für Solisten, Ensem­ anyway. ble und Video „Differenz/Wiederho• Marina Rosenfeld, 1999 lung 2" von Bernhard Lang. Ende vergangenen Jahres war es ein Form ist unausgesprochene Selbstre­ Schock für die Welt der zeitgenössi• ferenz. In systemtheoretischer Diktion schen Musik, als sich die Nachricht ist Form die Einheit der Unterschei­ vom Tod des erst 52jährigen Gerard dung, was bedeutet, daß die Diffe­ Grisey verbreitete. 1996 war Gerard renz selbst die Form ist. Grisey in Graz beim Musikprotokoll ~E. Rakuschan, 1999 gewesen, als das ensemble recherche eine faszinierende Wiedergabe seines Großdimensionierte, dreiviertelstündi• damals neuen, großen Kammermusik­ ge Werke und deren spektakuläre werkes „Vortex Temporum" spielte. (Ur)Aufführungen prägen das heurige Die heurige Musikprotokoll-Auf­ Musikprotokoll (Bernhard Lang, führung des vierteiligen Zyklus für Gerard Grisey, Clemens Gadenstätter), großbesetztes Ensemble und solisti­ dazu erklingt im Grazer Congress eine schen Sopran mit dem Titel „Quatre Auswahl von arriviertem Zeitgenössi• Chants pour franchir le Seuil" war im schem (György Kurtag, Salvatore Gespräch und wurde nach Gerard Gri­ Sciarrino, Brian Ferneyhough), zu ent­ seys Tod zu einem nicht als solchem deckende junge Künstlerinnen (Mari­ geplanten in memoriam, umso mehr na Rosenfeld, Paul Steenhuisen, Dieb als die „Vier Gesänge, um die Schwel­ 13, Radian) sowie neue, exquisite le zu überschreiten" eine vierzig­ Solo-, Kammer- und Orchestermusik minütige „Auseinandersetzung mit der (Christian Fennesz, Beat Furrer, Rupert Unausweichlichkeit des Todes" sind, Huber, Tom Johnson). In Kooperation wie Gerard Grisey in seinem Werk­ mit dem CulturCentrum Wolkenstein kommentar schrieb. Die Aufführung 4 von Gerard Griseys letztem Werk in Marina Rosenfeld legt Platten beim Graz ist nicht nur die österreichische Musikprotokoll auf, das tut auch Erstaufführung, sondern auch die Richard Dorfmeister, wenn er im Duo erste Auseinandersetzung des Klang­ mit Rupert Huber als Tosca spielt. forum Wien und Sylvain Cambrelings Clemens Gadenstätter läßt das Große mit diesem Werk . Orchester in seinen Möglichkeiten .,Form - Luxus, Kalkül und Abstinenz. wuchern, während Tom Johnson mit Fragen, Thesen und Beiträge zu ebendiesem die einstimmige Mehrsti­ Erscheinungsweisen aktueller Musik" migkeit erprobt - mit dem RSO-Wien heißt eine Publikation zum Musikpro­ unter Arturo Tamayo. Bernhard lang tokoll 1999, in der die Musikproto­ greift mit Dirigent plus Ensemble - koll-Künstler sowie einige Theoretiker Klangforum Wien mit Sylvain Cambre­ sich zum Thema „Form" äußern. Der ling - plus mehrere Solisten aus meh­ Begriff „Form" hat seinen früheren reren Kulturkreisen plus Video plus Stellenwert in der Diskussion und etc ins Volle, während Dieb 13 wieder­ Theorie über Musik verloren: Im tradi­ um zurückgreift auf Vinyl. Beat Furrer tionellen Sinn vorgegebene Form und Christian Fennesz treffen einan­ scheint definitif obsolet und als ein der und andere zum öffentlichen Begriff, der ein Verhältnis der struktu· Gespräch; via Computer beziehungs­ rierten Schallwellen zur Welt weise Kammerensemble - ensemble beschreibt, ist „Form" nicht entwickelt recherche - sind ihre jeweils neuesten worden. Die Vielfalt der Aspekte von Stücke zu hören. Das Trio Radian Form beschreiben heute Begriffe wie strukturiert instrumentale Betriebs­ Struktur, Material, Medien, Entwick­ geräusche, der junge Kanadier Paul lung, Prozeß, Verlauf, Fluß, Erschei­ Steenhuisen Instrumentalattacken. nung, Algorithmus, Grammatik, Dra­ Ur- und Erstaufführungen von Gerard maturgie. Den Begriff der Form wie­ Grisey, Salvatore Sciarrino, Brian deraufzugreifen zielt darauf ab, diese Ferneyhough, Tom Johnson und unterschiedlichen Perspektiven inein­ György Kurtäg verankern die Konzerte anderzublenden. im schon anerkannt Qualitätsvollen. Zum Wochenabschluß singt und spielt Robert Ashley mit seinen Freunden im ccw/Stainach, während zum jeweiligen Tagesabschluß die Musikprotokoll-Bar im Theatro öffnet, wo donnerstags Depth Charge, freitags DSL und sams­ tags Tosca auftreten. Christian Scheib 5 PROGRAMM• Donnerstag, 30. September Freitag, 1. Oktober OBERSICHT Grazer Congress Grazer Congress 17.30 Uhr Komponistengesprächsrunde Tom Johnson, Marina Rosen• Feld, Paul Steenhuisen, Robert Ashley 19.30 Uhr Stefaniensaal 19.30 Uhr Saal Steiermark Clemens Gadenstätter (A) Salvatore Sciarrino (1) auf takt Ommaggio a Burri Tom Johnson (USA) Brian Femeyhough (GB) Loops for Orchestra (UA) String Trio (ÖE) Paul Steenhuisen (CAN) Wonder (ÖE) ensemble recherche Catherine Dubosc - Sopran 20.30 Uhr Kammermusiksaal Radio Symphonieorchester Wien Christian Fennesz (A) Dirigent: Arturo Tamayo 1.10.99 (UA) 22.00 Uhr Saal Steiermark Christian Fennesz - Compu• ter Rupert Huber (A) Why sync? (UA) 22.00 Uhr Saal Steiermark Rupert Huber, CD-Player György Kurtag (H) und Klavier aus „Signs, Games and Messages" Beat Furrer (A) Aria (ÖE) Petra Hoffmann - Sopran ensemble recherche 23.00 Uhr Kammermusiksaal Marina Rosenfeld (USA) Fragment opera 5 (the heavens) (UA) Marina Rosenfeld, Turntables Theatro Theatro mp·bar mp-bar 23.00 Uhr 23.00 Uhr Winterstrand DJ Bark, DJ Kreislauf 24.00 Uhr 24.00 Uhr DJ Depth Charge DJ DSL Greedy Angers aka Grasshoppa & Greedy Boy DJ Tom Tyler 6 Samstag, 2. Oktober Sonntag, 3. Oktober Grazer Congress Culturcentrum Wolkenstein Stainach 17.30 Uhr Komponistengesprächsrunde Beat Furrer, Christian Fennesz, Bernhard Lang, Clemens Gadenstätter 19.30 Uhr Stefaniensaal 20.00 Uhr Bernhard Lang (A) Robert Ashley (USA) Dust Differenz/Wiederholung2 (UA) (ÖE) Salome
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