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Von Der Fuge in Rot Bis Zur Zwitschermaschine Von Der Fuge in Rot Bis Zur Zwitschermaschine Paul Klee Und Die Musik Paul Klee Und Die Musik

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Von Der Fuge in Rot Bis Zur Zwitschermaschine Von Der Fuge in Rot Bis Zur Zwitschermaschine Paul Klee Und Die Musik Paul Klee Und Die Musik VON DER FUGE IN ROT BIS ZUR ZWITSCHERMASCHINE VON DER FUGE IN ROT BIS ZUR ZWITSCHERMASCHINE PAUL KLEE UND DIE MUSIK PAUL KLEE UND DIE MUSIK Paul Klee gehört nicht nur zu den prägendsten Malerpersönlichkeiten des 20. Jahrhunderts, Thomas Gartmann (Hg.) sondern hatte auch eine starke Affinität zur Musik. So schrieb er unter anderem Musik- kritiken, spielte als Amateur hervorragend Geige und verkehrte mit vielen Komponisten. PAUL KLEE UND DIE MUSIK DIE UND KLEE PAUL Mit seinen Werken und seinen theoretischen Schriften wie den Unterrichtsmaterialien am Bauhaus inspiriert er bis heute zahlreiche Komponistinnen und Komponisten. Dieser Band präsentiert Texte über musikalisch beeinflusste und die Musik beeinflussende Werke Klees, insbesondere seine Beschäftigung mit Johann Sebastian Bach sowie die Re- (Hg.) zeption seines gestalterischen Denkens im aktuellen Musikschaffen von Pierre Boulez bis Harrison Birtwistle. Bisher unbekannte Quellen, zahlreiche Abbildungen und Neuinter- pretationen verhelfen dabei zu neuen Sichtweisen. Thomas Gartmann studierte Musikwissenschaft und promovierte zu Luciano Berio. Er leitet heute die Forschung an der Hochschule Thomas Gartmann der Künste in Bern sowie das Doktoratsprogramm « Studies in the Arts ». Schwerpunkte seiner Forschung sind Beethoven-Interpretationen, Musik und Politik, Librettistik, Jazz. www.schwabe.ch Hochschule der Künste Bern, 2020 Mit freundlicher Unterstützung durch: www.hkb.bfh.ch ERNST GÖHNER STIFTUNG Die Druckvorstufe dieser Publikation wurde vom Schweizerischen Nationalfonds zur Förderung der wissenschaftlichen Forschung unter stützt. Erschienen 2020 im Schwabe Verlag Basel Bibliografische Information der Deutschen Nationalbibliothek Die Deutsche Nationalbibliothek verzeichnet diese Publikation in der Deutschen Nationalbibliografie; detaillierte bibliografische Daten sind im Internet über http://dnb.dnb.de abrufbar. Dieses Werk ist lizenziert unter einer Creative Commons Attribution-NonCommercial-NoDerivatives 4.0 International (CC BY-NC-ND 4.0) Abbildung Umschlag: Paul Klee: Die Zwitscher-Maschine, 1922, 151, Ölpause und Aquarell auf Papier auf Karton, 41,3 × 30,5 cm, The Museum of Modern Art, New York, Mrs. John D. Rockefeller Jr. Purchase Fund, Digital image © 2020, The Museum of Modern Art, New York / Scala, Florence – Open Access gestattet Access – Open Redaktion: Osamu Okuda Lektorat: Daniel Allenbach Umschlaggestaltung: icona basel gmbh, Basel Layout und Satz: mittelstadt 21, Vogtsburg-Burkheim Separatum Druck: BALTO print, Litauen ISBN Printausgabe 978-3-7965-4255-8 ISBN eBook (PDF) 978-3-7965-4262-6 DOI 10.24894/978-3-7965-4262-6 Das eBook ist seitenidentisch mit der gedruckten Ausgabe und erlaubt Volltextsuche. Zudem sind Inhalts verzeichnis und Überschriften verlinkt. [email protected] www.schwabe.ch © 2020 Schwabe Verlag – Verlag © Schwabe 2020 Inhalt Thomas GarTmann Von der Fuge in Rot bis zur Zwitschermaschine 7 WolfGanG f. KersTen Paul Klee: Fuge in Rot. Von Musterbildern zum « Sonderklasse »-Werk 11 linn BurcherT « Wellenatem » und « Klangwehung ». Zum Atem als Metapher und Modell in Kunst- und Musiktheorie am Beispiel Paul Klees und Ernst Kurths 37 osamu Okuda Mädchen stirbt und wird. Hinter der Glas-Fassade von Paul Klee 47 chrisTian BerGer Die Lust an der Form. Johann Sebastian Bach mit den Augen Paul Klees 69 roland moser « weil doch die Theorie nur ein Ordnen gefühlsmässig vorhandener Dinge ist ». Paul Klees Gedanken und Begriffe in den Weimarer Vorträgen, auf Musik bezogen 81 ulrich mosch gestattet Access – Open Durch das Andere zum Eigenen. Pierre Boulez und Paul Klee 91 Separatum James dicKinson Mechanical – Magical. The Shared Creative Vision of Harrison Birtwistle and Paul Klee 123 Kurzbiografien 141 © 2020 Schwabe Verlag – Verlag © Schwabe 2020 James Dickinson Mechanical – Magical. The Shared Creative Vision of Harrison Birtwistle and Paul Klee “What I’m saying is best summed up by the work of Paul Klee. In the Ped- Form(ation) agogical Sketchbook he’s finding ways to proliferate his material, trying to make the sparks fly. […] If you then turn to theNotebooks and compare the There are strong parallels between Birtwistle’s and Klee’s creative de- theoretical sketch on one side of the page with the finished picture on the velopment. Klee’s art existed in the cracks between movements such as other you realize that the difference between them lies in the brush-stroke, Surrealism, Orphism and Cubism, mixing ideas from the disciplines the patina, which was neither contained in the theory nor present in the of the visual arts and music, while existing ‘out of time’ as he com- sketch. It’s this which gives the finished picture its spontaneous quality, bined modernist perspectives with eighteenth century musical styles. its magic.”1 Birtwistle’s creative path would also go on to fuse musical ideologies, combining modern atonalism with medieval techniques, and like Klee, It was Michael Hall who stated that Birtwistle’s musical ‘bible’ was not he would reach out to other disciplines to find inspiration.5 the string quartets of Beethoven, but Paul Klee’s Pedagogical Sketch- During Birtwistle’s early development as a composer he was strongly book.2 The combination of theoretical rigour and poetic fantasy was influenced by the music of Erik Satie, particularly the three Gymno- irresistible to Birtwistle, whose own desire to combine mathematical pédies. He describes the music revolving around the same subject, as logic and a sense of theatrical drama would make Klee his ideal cham- if viewed from different angles. “In an instant he knew he preferred pion. It was within Klee’s pedagogical writings that Birtwistle found the circling immobility of Satie’s style, to what he was to call the ‘goal the inspiration and at times specific solutions to his compositional orientated’ music of the classical and romantic traditions”.6 Birtwistle aims. compared Satie’s music to a diamond, a multi-dimensional singular In the above quotation, when discussing the difference between the object that can be experienced from different perspectives. The idea of theoretical exercises and the finished artwork, Birtwistle noted that it music as a physical object that can be navigated would become one of was the “brush-stroke” that gave the “magic”, but in the same conver- the central principles of Birtwistle’s approach to composition. Birtwistle sation with Hall, he stated that “In music, unfortunately, we don’t have will often state that the music (object) is already present and that the act gestattet Access – Open brush-strokes; we only have a pitch and a duration. So to compensate I of composition is to work out ways to gradually reveal that object. use random numbers.”3 Hall described Birtwistle’s use of random numbers as “the dance of “I was interested in […] the notion that this piece of music exists, just like Separatum numbers”, a phrase which brings together the spontaneous intrinsi- an object, and what you can do is perform certain facets of it, examine it cally rhythmic act of dancing with the fixed notion of a mathematical in different ways. […] The total object is never sounded, but through time system.4 It therefore eloquently embodies the tectonic-poetic dualism you build up a memory picture of what it is.”7 which lies at the heart of the creative visions of both Birtwistle and Klee. With his notion of music as a physical object, it was a logical step that Birtwistle would turn to the visual arts for inspiration. 123 – Verlag © Schwabe 2020 In the early 1920s, Klee stood out from his contemporaries, many ing gives way to the beginning of order. The free motion of the line is sub- of whom had entirely rejected representation in favour of a relentless ordinated to anticipation of a final effect”.11 march towards pure abstraction. Klee however had found a way to com- bine the personal expression of his figurative drawing with the abstract Therefore, Klee’s line is a balance between the childlike freedom of the settings of his colour fields and grids. Similarly, Birtwistle was looking original motion and the constraint of the laws governing the representa- for a middle ground that combined personal expression through tonal- tional forms that begin to develop. ity and harmony with the more abstract, systemized nature of modern- Hall stated that “all Birtwistle’s music, no matter how dense and rich ist serialism. Like Klee, who turned to eighteenth century music to pro- it may be, is essentially monody”.12 This line can also be seen as a freely vide structural solutions, Birtwistle found that the answer to his present moving agent, perhaps without initial intention, but providing a plat- musical problems also lay in the past. form for the proliferation of additional material as the structure devel- The technique Birtwistle would employ was the fourteenth century ops. Like Klee however, the journeys of Birtwistle’s lines are not a simple style of Ars Nova, a development from simple repetition of monophonic A to B, from a beginning to an end point. His line will transfer between lines in the preceding century. It allowed greater rhythmic independ- registers and instruments, freeze in time, reverse and retrace its steps, ence and complexity, while retaining the sense of a repeating ostina- break its continuity, fragment, suggest cycles or spirals and move be- to.8 It is a form of isorhythm, where a repeating rhythmic pattern of a tween foreground and background at will. Using Satie’s ‘diamond’ as an set length (talea) is superimposed onto a repeating pattern of different inspiration,13
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