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 unter­stützt.

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 überhttp://dnb.dnb.de abrufbar.

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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 Inhalts­verzeichnis und Überschriften verlinkt.

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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 The Shared Creative Vision of Harrison Birtwistle and Paul Klee andPaul Birtwistle ofHarrison Vision Creative Shared The James Dickinson James Mechanical – Magical. –Magical. Mechanical which lies at the heart of the creative visions of both Birtwistle and and Birtwistle of both visions creative of the heart at the lies which conver “magic”, gave same the that the but in “brush-stroke” the was Klee. It was Michael Hall who stated that Birtwistle’s musical ‘bible’ was not was ‘bible’ musical Birtwistle’s that who stated Hall Michael It was use random numbers.” random use book irresistible to Birtwistle, whose own desire to combine mathematical to mathematical combine desire own whose to Birtwistle, irresistible numbers”, a phrase which brings together the spontaneous intrinsi spontaneous the together brings which numbers”, aphrase theoretical exercises and the finished artwork, Birtwistle noted that it noted Birtwistle artwork, finished the and exercises theoretical compositional his solutions to specific at times and inspiration the found Birtwistle that writings Klee’s pedagogical pion. within It was but Klee’s Paul of Beethoven, quartets string the logic and a sense of theatrical drama would make Klee his ideal cham ideal his Klee make would drama of theatrical asense and logic cally rhythmic act of dancing with the fixed notion of a mathematical mathematical notion of a fixed the with of dancing act rhythmic cally brush-strokes; we only have a pitch and a duration. So to compensate I to compensate So have a duration. we apitch only and brush-strokes; system. we don’t unfortunately, music, “In have that he stated Hall, with sation aims. aims. “What I’m saying is best summed up by the work of Paul Klee. In the the In Klee. work of Paul up by the summed best is I’m saying “What Hall described Birtwistle’s use of random numbers as “the dance of dance “the as numbers of random use Birtwistle’s described Hall the between difference the discussing when above quotation, the In agogical Sketchbook agogical its magic.” the patina, which was neither contained in the theory nor present in the the nor in present theory the in contained neither was which patina, the the on picture finished the with page on one of side the sketch theoretical make the sparks fly.the sparks to the […]turn then make If you other you realize that the difference between them lies in the brush-stroke, the brush-stroke, in lies them between difference the that you realize other sketch. It’s this which gives the finished picture its spontaneous quality, quality, spontaneous its picture finished the gives which It’s this sketch. . 2

The combination of theoretical rigour and poetic fantasy was was fantasy poetic and rigour theoretical combination of The 4 It therefore eloquently embodies the tectonic-poetic dualism dualism tectonic-poetic the It embodies eloquently therefore 1 he’s finding ways to proliferate his material, trying to trying material, his to ways proliferate he’s finding 3

Notebooks Pedagogical Sketch Pedagogical and compare the the compare and Ped - - - - - There are strong parallels between Birtwistle’s and Klee’sde and creative Birtwistle’s between parallels strong are There With his notion of music as a physical object, it was a logical step that that step alogical it was object, notion of aphysical music as his With velopment. Klee’s art existed in the cracks between movements as such between cracks the in existed velopment. Klee’s art will often state that the music (object) is already present and that the act theact that the and music that present already (object)state is often will Birtwistle would turn to the visual arts for inspiration. arts visual to the turn would Birtwistle ideologies, musical go on to fuse also would path creative Birtwistle’s Form(ation) music as a physical object that can be navigated would become one become of would navigated be can that object aphysical music as pédies. if viewed from different angles. “In an instant he knew knew he preferred he instant an “In angles. different from viewed if three the particularly Satie, the Erik music of by influenced he would reach out to other disciplines to find inspiration. to find disciplines out reach he to other would Surrealism, Orphism and Cubism, mixing ideas from the disciplines disciplines the from ideas Cubism, mixing and Orphism Surrealism, the central principles of Birtwistle’s approach to composition. Birtwistle Birtwistle approach to composition. of Birtwistle’s principles central the ‘goal the to call he to was what of Satie’s style, immobility circling the orientated’ music of the classical and romantic traditions”. romantic and classical music of the orientated’ Klee, like and techniques, medieval with atonalism modern combining he com ‘out as of time’ existing while music, and arts visual of the of composition is to work out ways to gradually reveal that object. object. that reveal toof work is composition out to gradually ways The of idea perspectives. different from experienced be can that object singular amulti-dimensional Satie’scompared music to adiamond, bined modernist perspectives with eighteenth century musical styles. styles. musical century eighteenth with perspectives modernist bined “I was interested in […] the notion that this piece of music exists, just like like just of exists, music piece […] in this interested that notion “I was the During Birtwistle’s early development as a composer he was strongly strongly development he was acomposer early as Birtwistle’s During you build up a memory picture of what it is.” of what picture up amemory you build in different ways. […] The total object is never sounded, but through time through but ways. sounded, never is […] different object in The total an object, and what you can do is perform certain facets of it, examine it examine of it, facets certain perform dois you can what and object, an He describes the music revolving around the same subject, as as subject, same the around music revolving the He describes 7 5 6 Birtwistle Gymno 123 - - ­

© 2020 Schwabe Verlag – Separatum – Open Access gestattet © 2020 Schwabe Verlag – Separatum – Open Access gestattet vide structural solutions, Birtwistle found that the answer to his present to his answer the found that Birtwistle solutions, structural vide 124 ucts of that wandering line as either expressions of force, or figurative of force, or figurative expressions either as line wandering of that ucts for release. As Birtwistle himself states: “incomplete symmetry, that is is that symmetry, “incomplete states: himself Birtwistle As for release. past. the lay in problems also musical tonal through expression personal combined that ground for a middle however found away to had com Klee abstraction. pure towards march representations. Klee compares the relative freedom and control of his control of his and freedom relative the compares Klee representations. ist serialism. Like Klee, who turned to eighteenth century music to pro century to eighteenth who turned Klee, Like serialism. ist of modern nature systemized more abstract, the with harmony and ity in motion (genesis of form). A line comes into being. […] of form). motion (genesis being. into comes in A line It out goes for his line to wander at will, yet as forms are produced he defines the prod produced he defines are forms as yet at will, to wander line his process: “The primordial movement, the agent, is a point that sets itself itself sets that point is a agent, the movement, primordial “The process: need subsequent the on tension and apropulsion form, based posed an within contained entities disparate on balancing relied proach that to. line to the development of a child when learning to draw. learning when development to the of achild line ( length independ rhythmic greater It allowed century. preceding the in lines overall unifying structure. The tension within this non-symmetrical non-symmetrical this within Thetension structure. unifying overall ostina of arepeating sense the retaining complexity, while and ence of favour arelentless in representation rejected of whom entirely had building cannot be overstated. In his pedagogical writings Klee de Klee writings pedagogical his In overstated. be cannot building com –not adevelopment forward through ‘line’ propels his balance abstract the with drawing figurative of his expression personal the bine scribes the way that the formation of a line is at the heart of his creative creative of his heart at the is of aline formation the way that the scribes satisfied”. be must eventually that need structural a it creates because dynamic is formed, of being process in symmetry ( length set of style looking was Birtwistle Similarly, grids. and fields colour of his settings a walk, so to speak, aimlessly for the sake of the walk.” of the sake for the aimlessly to speak, so a walk, “At first the pencil moves with extreme freedom, wherever it pleases. But it pleases. wherever freedom, extreme with moves “Atpencil the first The technique Birtwistle would employ was the fourteenth century century the fourteenth employ would was Birtwistle technique The Klee does not set out with a pre-determined form in mind. He allows He allows mind. in form a pre-determined out not with set does Klee In the early 1920s, Klee stood out from his contemporaries, many many contemporaries, out his from stood 1920s, Klee early the In In both Klee and Birtwistle the importance of line in relation to form to form relation in of line importance the Birtwistle and Klee both In laws which govern his random efforts. play-draw first […] efforts. the random of chaos The his govern which laws once he begins to look at these first works, the child discovers that there are there that discovers child the works, first at these look to heonce begins 8 It of aform is Ars Nova, Ars colour talea ). In its application, Birtwistle had found a formal ap found aformal had Birtwistle ). application, its In ) is superimposed onto a repeating pattern of different of different pattern onto arepeating superimposed ) is a isorhythm

development from simple repetition of monophonic monophonic of repetition simple from development , where a repeating rhythmic pattern of a pattern rhythmic , where arepeating 9 10

------‘lead role’ between its constituent parts. In section I.5 of section the In parts. constituent its role’ between ‘lead A to B, from a beginning to an end point. His line will transfer between between transfer will line His end point. to an abeginning from A to B, Therefore, Klee’s line is a balance between the childlike freedom of the freedom of childlike the between Klee’sbalance is a Therefore,line (Secret) Theatre Theatre (Secret) Klee and Birtwistle found that Opera provided a creative model, which which model, acreative provided Opera found that Birtwistle and Klee Both artist and composer take a multiplicitous approach to the devel approach to the amultiplicitous take composer and artist Both Birtwistle, it is important to see that both artist and composer view view composer and artist both that to see important it is Birtwistle, Sketchbook form for the proliferation of additional material as the structure devel structure the as material of additional proliferation forform the aplat but intention, providing initial without perhaps agent, moving registers and instruments, freeze in time, reverse and retrace its steps, steps, its retrace and reverse time, in freeze instruments, and registers inspiration, it may be, is essentially monody”. essentially is it may be, his line will travel, gradually revealing the architectural form, while while form, architectural the revealing gradually travel, will line his tional forms that begin to develop. begin that forms tional pression of pictorial colour and musical harmony respectively. harmony musical and colour pression of pictorial arole. Both playing actor an narrative, adramatic as line unfolding the the or end points, no starts with acontinuum, as process this presenting an as Satie’s Using ‘diamond’ at will. background and foreground tween line being able to modulate freely between these states. these between freely able to modulate being line listener. of the memory the in trace its behind leaving ops. Like Klee however, the journeys of Birtwistle’s lines are not asimple are lines however, of Birtwistle’s Klee journeys the Like ops. representa the laws governing of the constraint the motion and original erate this thread into heterophonic forms, subsequently exchanging the the exchanging subsequently heterophonic into forms, thread this erate then prolif will they line, a single with beginning opment Often of line. break its continuity, fragment, suggest cycles or spirals and move and be or spirals cycles suggest fragment, continuity, its break allowed them to fuse this poetic, descriptive line with the absolute ex the with line descriptive poetic, this to fuse them allowed “Birtwistle conceives all his music theatrically. It is not merely dramatic in in It dramatic not merely is theatrically. music his all conceives “Birtwistle To understand this facet of the form building of both Klee and and Klee of both building form of the facet To this understand Hall stated that “all Birtwistle’s music, no matter how dense and rich rich how and no dense matter music, Birtwistle’s “all that stated Hall ing gives way to the beginning of order. The free motion of the line is sub is line the of of motion order.free The beginning the to way gives ing the sense that Beethoven’s music is dramatic […]. Since drama requires […]. requires Beethoven’s dramatic is music drama that Since sense the ordinated to anticipation of a final effect”. of afinal anticipation to ordinated , Klee defines line as being being “active”, as or “passive” “medial”, line defines , Klee 13 Birtwistle will conceive a virtual structure through which which through structure conceive avirtual will Birtwistle 12 This line can also be seen as a freely freely as a seen be also can line This 11

Pedagogical Pedagogical 14 ------

1 Paul Klee: The Twitter- ing Machine, 1922, 151, oil transfer and water­colour – Open Access gestattet Access – Open on paper, edged with watercolour and pen on cardboard, 41.3 x 30.5 cm,

The Museum of Modern Separatum Art, New York, Mrs. John D. Rockefeller Jr. Purchase Fund, Digital image © 2020, The Museum of Modern Art, New York / Scala, Florence. © 2020 Schwabe Verlag – Verlag © Schwabe 2020 2 Paul Klee: Konzert auf dem Zweig (Concert on the Branch), 1921, 188, pen on paper on cardboard, 28.2 x 22 cm, Zentrum Paul Klee, Bern, ZPK Picture Archive. – Open Access gestattet Access – Open Separatum © 2020 Schwabe Verlag – Verlag © Schwabe 2020 “operatic works”, “operatic These works were defined by writers such as Grohman and Kagan as Kagan and as Grohman such writers by weredefined works These Twittering Machine Twittering Machine would term “individual”). He then combines this with “continuum” with this combines He then “individual”). term would Klee’s definition “dividual”). Klee’s definition In Birtwistle, as in Klee, formal hierarchy is rejected as dramatic roles dramatic as rejected is hierarchy formal Klee, in as Birtwistle, In fer painting which embodies all these elements and also the work that work that the also elements and these all embodies which fer painting into the ‘cosmic void’ of the colour staining is apparent. The four birds The birds four apparent. is staining colour of the ‘cosmic void’ the into and paint oil black with cover would asheet Klee context. anew into has received the most attention from composers from attention most the received has tive fantasy of Klee’s line and the absolutism of his colour fields. If we fields. colour of his absolutism the and of Klee’s line fantasy tive to setting, anew transferred is line the that so sheet oil on the placed adrawing paper. trace of white He sheet then would it onplace aclean the exaggerated both which results, unpredicted create would technique this of spontaneity The setting. colour onto the drawing line the pose’ to ‘superim technique, transfer employ oil would his paniment). Klee accom ‘absolute’ libretto) musical (which and colour the the represents ognized musical term for a pre-existing fixed melody in polyphonic mu polyphonic in melody fixed for apre-existing term musical ognized as roles these “cantus” to define came brought together his fanciful drawings and his abstract colour fields. fields. colour abstract his and drawings fanciful his brought together side by side with the finished painting, the potency of placing the subject thesubject of placing potency the painting, finished the side by side with drawing, original the study them synthesizing time same at the element, while of each separation (by circular and rhythmical more is vertical, which setting, structural element (what Klee linear horizontal sic) a gestural, he means by which albeit imbued with a scratchy, broken quality. One important oil trans oil ascratchy, One important broken quality. with imbued albeit Birtwistle background. the and foreground the between exchanged are “The importance of theatre and drama as a source of inspiration for Klee Klee for inspiration of source as a drama and theatre of importance “The During the 1920’s Klee produced a large number of works, which 1920’s which of the works, number alarge produced During Klee with waywardness, inconspicuousness with prominence.” with inconspicuousness waywardness, with to form … the play of perception and the ambiguity of becoming and and of becoming ambiguity the and play of perception … the form to goes beyond mere subject matter to take on a decisive role in his approach approach his role in on adecisive take to matter mere subject beyond goes coexistence within the framework of the stage.” of the framework the within coexistence thereforecontrasted is Control contrasts. […]strong conflict be there must seeming, as well as the playful conflict between opposing forces and their their and forces opposing between conflict playful the as well as seeming, 18 as they bring together his narrative line (representing line narrative his together bring they as (1922, 151) (Fig. is a powerful example of the merging of the narra of the merging of the example a powerful is 17 Concert on the Branch the on Concert 1).

(taken from 16 19 cantus firmus, cantus is the painting painting the is (1921, 188 –Fig. 15

a rec a , the the The The 2) ------The oppositional balance between control and freedom was a key theme key a was freedom and control between balance The oppositional Mechanical Music vent them from actually operating in a conventional or effective manner. manner. or effective aconventional in operating actually from vent them which is derived from the watercolour staining technique that Klee first first Klee that technique staining watercolour the from derived is which whereas whereas Klee’s graphic mechanical inventions. A regular preoccupation of his his of preoccupation regular A inventions. mechanical graphic Klee’s Further links between the two works can be found, such as the spring spring the as such found, be can works two the between links Further Fig. Birtwistle’s work, this is his only composition explicitly and directly directly and explicitly composition only his is work, this Birtwistle’s tus Branch the used in 1910 and later in works such as 1910 as such works in in later used and for Mechanical Music Mechanical for mechanism holding the sphere in position and also the arrow with its its with arrow the also and position sphere in the holding mechanism of phenomenon, for but this inspection explanation fered an fantastical drawings were these imaginary mechanisms, their purpose purpose their mechanisms, imaginary were these drawings fantastical related to an individual painting. individual to an related petuum petuum chine in many of these works and very often there was a musical subject, ex subject, a therewas musical often very and works of these many in the most immediately striking features of the birds in in birds of the features striking immediately most the tation. tation. parallels the support structures within within structures support the parallels work, this drawing drawing 1920s. The early the during up to and leading Klee concerned that das choose to base his composition his to base choose on the extreme left of the composition. Thus far, have scholars composition. notthe Thus of left of extreme on the balances between the mechanical and magical, that Birtwistle would would Birtwistle that magical, and mechanical the between balances barbed shaft protruding skywards from the sphere. In addition, the addition, In thesphere. from skywards protruding shaft barbed suggested, yet obscure, often containing inherent flaws that pre would flaws inherent containing often obscure, yet suggested, are now placed in a context, which suggests amore profound interpre suggests which acontext, now in are placed arrangement of right angles in the construction of the mechanism mechanism of the construction the in angles of right arrangement amples include include amples Apparatus for Mechanical Music Mechanical for Apparatus The third pictorial influence comes from a series of works comprising comprising of works series from a comes influence pictorial third The Twittering Machine It was this painting, which so perfectly exemplifies the oppositional the oppositional exemplifies perfectly so which painting, this It was has a large megaphone-like structure to amplify the sounds within, within, sounds the to amplify structure megaphone-like alarge has 3) is that they all appear to have three legs, excepting the tallest bird tallest the excepting legs, to have three appear all they that is (1978) upon. Twittering Machine Concert on the Branch the on Concert

where the legs are in fact the lower sections of music stands. of music stands. lower the sections fact in are legs where the and the finished composition finished the and Instrument for New Music Music New for Instrument (1921, 223 –Fig.

Despite all the self-declared influence of Klee Klee upon of influence self-declared the all Despite reveals that the formation has clear parallels to parallels clear has formation the that reveals is actually a fusion of three experimental agen experimental of three afusion actually is is distinctly mute in this regard. When When regard. mute this in distinctly is is combined with a colour field setting, setting, field acolour with combined is Carmen Arcadiae Mechanicae Per Mechanicae Arcadiae Carmen 4). has clear links to both to both links clear has Twittering Machine North Sea Island Sea North Twittering Machine. Twittering Machine. (1914, 10)

and Twittering Ma Twittering Apparatus for for Apparatus (1923, – 242 Concert on Concert Apparatus Apparatus . Appara One of One 127 ------

© 2020 Schwabe Verlag – Separatum – Open Access gestattet – Open Access gestattet Access – Open Separatum

3 Paul Klee: Nordsee bild (North Sea Picture), 1923, 242, watercolour on paper on cardboard, 24.7 x 31.5 cm, Zentrum Paul Klee, Bern, ZPK Picture Archive. © 2020 Schwabe Verlag – Verlag © Schwabe 2020 4 Paul Klee: Apparat für maschinelle Musik (Apparatus for Mechanical Music), 1921, 223, pen on paper on cardboard, 11.1/11.3 x 8.5 cm, Zentrum Paul Klee, Bern, ZPK Picture Archive. – Open Access gestattet Access – Open Separatum © 2020 Schwabe Verlag – Verlag © Schwabe 2020 © 2020 Schwabe Verlag – Separatum – Open Access gestattet Twittering Machine Twittering Machine Mechanical Music Klee decided to turn his three birds into an automaton, an into birds three his to turn decided Klee Having established the way Klee emphasized the disparate relationship relationship disparate the emphasized way Klee the established Having 130 fixed. Comparing the original drawing to the final painting it is clear clear is it painting final the to drawing the original Comparing fixed. Symbolism within the work the Symbolism within machine where a vertical structure is faintly suggested. The arc as an as arc The suggested. faintly is structure where avertical machine danger. workhis depict to in use often would Klee that asymbol mark; In limitations. physical beyond his reach his man’s to extend desire both used symbols, Klee’sis important one arrow of The most feet. removed. in an exaggerated manner. Its tongue is represented as an exclamation exclamation an represented as is Its tongue manner. exaggerated an in have been stripped away, the bark-like quality of the sketch work and work and sketch of the away, quality bark-like stripped have been the the It however, base is to the attached setting. of the clouds colour porous floating is mechanism the that sensation to the have been branch, main the beneath projects which twig, delicate the identity original its suggest would that branch of the vestiges any that below. from pierce them that clear thereis a themselves; the intobirds embedded firmly are points than rather base their at arrows of flights feathered have the birds the of legs Some of the œuvre. his throughout metaphors symbolic portant differentiation between the erect bird with its well-groomed tail feathers, feathers, tail well-groomed its with bird the erect between differentiation or ‘voices’ of the birds. The bird on the far left rises above the others others the above rises left far the The on bird birds. or of ‘voices’ the birds, assured the less and doctrine, dangerous a spouting confidently subservience. of mechanical by a defined vertical strut, which attaches to the horizontal crank using using crank the horizontal to attaches which strut, vertical by adefined are they on which machine the now examine we can birds, the between standing awkwardly on ‘musical’ legs while under attack from arrows arrows from attack under while legs on ‘musical’ awkwardly standing architectural motif repeats throughout the composition, appearing in in appearing composition, the throughout repeats motif architectural musical inverted of an reminiscent arc inverted an at one endadding unattached is crank The handle. angular a brutally of symbol a metaphysical as and eye the to direct device a formal as Another device to serve this differentiation is the respective tongues tongues the respective is differentiation this to serve device Another The branch is now transformed to a smoothly engineered crank with with crank engineered to a smoothly transformed is now The branch fermata is repeated as the crank meets the horizontal edge of the of the edge horizontal the meets crank the as repeated is was the perfect solution to bring his birds into a state astate into birds his solution to bring perfect the was it relates to both the desire to fly and attack, as the as and attack, to fly desire the to it both relates is full of graphic signs that for Klee served as im as served for Klee that signs of graphic full is / suspended in the va the in suspended fermata Apparatus for for Apparatus . This use of use . This The The 20 - -

The arguments during the tumultuous year of 1922 at the Bauhaus con Bauhaus the of at 1922 year tumultuous the during arguments The 6 October 1922, Lyonel wrote: 6 October Feininger Bauhaus was in a state of extreme turmoil. In a letter to his wife dated dated wife to his aletter In turmoil. of extreme astate in was Bauhaus Otto Werckmeister sees the painting as a fusion of machine and ani and of machine afusion as painting the Werckmeister sees Otto form, a common design feature of automaton, as this will induce the the induce will of automaton, this feature as design acommon form, mal, while according to Wheye and Kennedy, the painting is often inter often is Kennedy, painting and the to Wheye according while mal, to its return Ishall and for Klee symbol graphic important mentally readings, the evidence points to another explanation, one which takes takes one which explanation, to another points evidence the readings, into account the way Klee would often use his art as a biographical di as a biographical art his use often would way Klee the account into ing the respective hierarchy of the birds as presently shown suggesting suggesting shown presently as birds of the hierarchy respective the ing Shapiro suggests that the purpose of the machine is to trap unwitting unwitting to trap is machine of the purpose the that suggests Shapiro this machine could produce. Like the arrow, the arrow, the the Like produce. could machine this that possibilities of other of a multitude one just perspective is this that inverted and the upright both in arc here Theappears itself. crank the mouths the in bird, third of the tongue the in structures, linking these to creativity derived from industrial design and Joseph Itten’s Joseph and design more industrial from derived to creativity science”. of laboratory “a as preted contemptuous satire essay.this dance like movement to contrast with their captive state, but also alter but also state, captive their movement with to contrast like dance original sketch and the subsequent transfer painting were produced the were the produced painting transfer subsequent the and sketch original of second and fourth birds and in the shape of the bird heads (forming (forming bird heads of the shape the in and birds fourth and of second cerned the tension between Walteran approach Gropius’s tension between the towards cerned shift birds to bob up and down with the turning of the crank. This creates a creates This crank. of the turning the with down up to and bob birds birds, their song producing a siren-like effect to draw its victims in. victims draw its to effect asiren-like song producing their birds, special significance for both the painting and the musical work later in worklater the musical and thepainting forboth significance special ary to chart his experiences. It is well documented that at the time the the time at the that documented It well is experiences. his to chart ary a full a full “This is a time for everyone at the Bauhaus that would be difficult for you difficult be that would Bauhaus the at everyone for time is a “This The final, but perhaps crucial, instance of the arc is in the the contours of in is arc the of instance crucial, perhaps but final, The There have been numerous proposed readings of readings Therehave proposed been numerous While it is tempting to propose that the painting is open to multiple to open multiple is painting the to that propose tempting it is While what’s happening there. A fanatical cabal has assembled. Unfortunately Unfortunately assembled. has cabal Afanatical there. what’s happening them to moralistic assaults of every kind against our friend.” our against kind of every assaults moralistic to them of the vanity wounded the in lie to movement appears of the motive the leaders workshop and Masters the all Yesterday with we met imagine. to from 8:00 until 12.30 8:00 until from attackers and anxiety about their precarious authority – and this drives drives this –and authority precarious their about anxiety and attackers fermata when combined with the dot-like eyes). dot-like the with combined when m. a. […] I cannot, I dare not try to describe briefly briefly describe to […] not try Idare Icannot, Twittering Machine fermata fermata 22 23 is afunda is

21 : ­ - - - - -

yet it is firmly anchored to the ground. Further conflict can be seen be can conflict Further ground. the anchored to firmly ityet is with a plot that dealt with the vicious power struggles raging within the the within raging power struggles vicious the with dealt aplot that with Bauhaus during this period. He placed his characters in a state of mech astate in characters his He placed period. this during Bauhaus members of the ‘fanatical cabal’ […] arrow large the cabal’ who manipulate ‘fanatical ofmembers the just before before just reference to Feininger’s letter, Kagan describes them as “puppetlike “puppetlike as them describes reference to Feininger’s letter, Kagan intellectual, physical or spiritual movement arrow. –the or spiritual physical intellectual, anchor, the while mirror which characters, of the features facial the in 1922. late in Bauhaus the leaving him in protagonists, all seemingly locked into a mechanical device, in this case case this in device, a mechanical into locked seemingly all protagonists, striking workbears Feininger’s letter. This in highlighted debate the found in be can Bauhaus the culminated disagreements the and focus design amoretoward practical the contrasting cosmic void in which the action is set. set. is action the which void in cosmic contrasting the displaying Klee’s favoured symbol with which to express the desire for desire the to express which with Klee’s symbol favoured displaying con freedom versus The of opposition work. of the narrative the drive of moralistic assault”. moralistic of straint is embodied in the paradox of a vehicle designed for movement, of designed avehicle paradox the in embodied is straint of composition to the similarities Gropius’s philosophy. Itten’s with at odds movespiritual was position anistic perpetual bondage, the futility of their situation emphasized by emphasized situation of their futility the bondage, perpetual anistic wagon. train a runaway “Klee liked the detached quality of operatic action; its human characters characters human its action; of operatic quality detached the liked “Klee Three of the party are attached to the largest arrow, and with direct direct with arrow,and largest the to are attached theparty of Three What Klee had produced in in produced had Klee What Further evidence of evidence Further Like Like represent elementary facts rather than psychological entities, like Good Good like entities, psychological than rather facts elementary represent that veils the indescribable.” the veils that contra and on contrasts depends ensemble its world because operatic the dictions, and the most diverse realities result in an unreal world of illusion world of illusion unreal an in result realities diverse most the and dictions, of unity the not disturb does pleasing, the to grotesque the from devout, content is shared among a number of figures, so that the general is em is the general that so of figures, anumber among content shared is bodied in the individual. The abrupt changes, from the adventurous to the to adventurous the from changes, abrupt The individual. the in bodied and Evil, the Pure and the Demonic, Ugliness and Beauty. The symbolical symbolical The Beauty. and Ugliness Demonic, the and Pure the Evil, and Twittering Machine Twittering Machine 24 Twittering Machine’s there are several symbolic elements that elements that symbolic several are there 25 The The Morality Wagon

Twittering Machine and Twittering Machine

drawn as a satirical response to response asatirical as drawn connection to the events of events to the connection (1922, 123) executed was a ‘visual opera’, a‘visual was ; there are four four are ; there - - - - “one of those moments in which all the ingredients come together. […] ingredients the all It“one which moments in of those not a if makes, and exasperation, of comic akind “seemed to accumulate ‘The Perpetual Song of Mechanical Arcady’, was composed to mark the mark to Arcady’,composed was Song of Mechanical ‘The Perpetual Twittering Machine Carmen Arcadiae Mechanicae Perpetuum Perpetuum Mechanicae Arcadiae Carmen Carmen Arcadiae Mechanicae Perpetuum Mechanicae Arcadiae Carmen In the same passage Birtwistle describes describes Birtwistle passage same the In Northcott, described Carmen as a “toyshop” piece concluding that it that a“toyshop” concluding as piece Carmen described Northcott, ficult to deconstruct in any logical way. Owing to the arbitrary nature of nature arbitrary the to way. Owing any logical in deconstruct to ficult juxtaposition of materials and the mechanical nature of the piece, but piece, of the nature mechanical the and of materials juxtaposition informed his own methodology. own his informed in his work. his in tenth anniversary of the London Sinfonietta. of the anniversary tenth their construction, some scholars consider it a virtual impossibility to impossibility consider it avirtual some scholars construction, their of significance special the to understand began reviewers that later not It until piece. was of the surface chaotic playfully seemingly the output.” to Birtwistle’s addition entertaining an profound, at least deeper, Bayan work. more the of the profound nature missed perhaps like the painting, a more complex structural topography lies beneath beneath lies topography amore complex structural painting, the like carry out any meaningful interpretation of his pieces. of his interpretation out meaningful any carry surprising noted the reviewers context”. Early within context contrast, specific nature of this connection and the way in which Klee’s which approach in waythe and connection this of nature specific seems to me like a sort of focus, a turning point in my career.” in point aturning of focus, asort to me like seems as a pivotal work for Birtwistle, serving as a catalyst for a new direction for direction anew acatalyst as serving work for apivotal Birtwistle, as “Rigid repetition is combined with haphazard alteration […]. alteration haphazard There’s a with combined is repetition “Rigid “The piece is by way of a homage to Paul Klee and the title is a title he could could he title is a title the and Klee wayto Paul is by of a homage piece “The Written as a direct homage to Paul Klee and based upon the painting painting upon the based and Klee homage to Paul adirect Written as In his conversations with Fiona Maddocks, he reflects on the piece as the piece on he reflects Fiona Maddocks, with conversations his In Birtwistle’s music have invented. It consists of six mechanisms which are juxtaposed many many juxtaposed are which mechanisms of six It consists have invented. time-scale independent of that of the mechanisms, creating an independ an creating mechanisms, of the of that independent time-scale have a the piece of dynamics The of transition. form any without times middle level of obvious pattern – the level of repeated notes, or chords, or or chords, notes, of repeated level – the pattern of obvious level middle of the piece.” of the the registers to applied also is process This own. of their life ent dynamic 27

, Birtwistle’s program notes give some clues as to the to the some as clues give notes program , Birtwistle’s

is considered by many scholars to be extremely dif extremely to be scholars considered by is many Carmen (1977), literally translated as as (1977), translated literally 26 as “contrast within within “contrast as 29 Carmen

28 But But 131 - -

© 2020 Schwabe Verlag – Separatum – Open Access gestattet © 2020 Schwabe Verlag – Separatum – Open Access gestattet Table 1: Original arrangement of mechanisms in the sketch plan. sketch inthe ofmechanisms Table arrangement 1:Original Table 2: The actual order of mechanisms, in the finishedscore. inthe Table ofmechanisms, order actual 2:The Cycle 5 Cycle 4 Cycle 3 Cycle 2 Cycle 1 Cycle In the score In the Plan 4 4 4 6 3 A DBAECF DBAECF 1 Cycle There have, however, been some scholars willing to take on the difficult difficult the on take to Therehave,willing however, somescholars been (Table 2). (Table or sketches) original shows the compositional the from (transcribed E12 have been switched around and that F13 went through 3prior alte F13 that went and through around switched have been E12 Paul Sacher Foundation in Basel. The key to understanding Birtwistle’s Birtwistle’s understanding to key The Basel. in Foundation Sacher Paul 132 my own work draws upon and extends the work of three such analy such work of the three extends upon and workmy own draws rations; D, E, A and then finally F, underlining the significance of these these of the significance underlining F, finally then Aand D, E, rations; piece has a clear bilateral form. The first half strictly adheres to the plan theplan adheres to strictly half first The form. bilateral aclear has piece Table 1 plans. sketch original one on proposed these the score)the with textural their by defined are they that dering of the mechanisms in the plan. But a comparison between the the between But acomparison plan. the in mechanisms of the dering of complexities the of unravelling assignment detective continues. The sketch plan reveals that the disputed blocks of A10 andA10 of blocks disputed the that reveals plan sketch The continues. in (evident structure finished the comparing in ideology, lies creative to approach compositional at the kept sketches the accessed had Beard David only analyses, of these blocks to the composer. to the blocks score and the sketch plan reveals numerous changes in the final version final the in changes numerous reveals plan sketch the and score ses. 6 1 3 3 2 B What is clear from the plan and the subsequent changes is that the the that is changes subsequent the and plan the from clear is What Note that the score ends after 22 mechanisms even though the plan the plan though even 22 mechanisms after ends score the Note that form provide no simple answer to scrutiny.” to answer no simple provide form of large-scale level upper the and lower of detail level the –while motifs 31 All three analysts conclude that there are six mechanisms six are there conclude that analysts three All CFB CFBEDA 2 Cycle A D E 3 6 6 1 5 C FD DEBAFC 3 Cycle B CEA Carmen 1 2 1 5 1 D and, crucially, its links to Klee’s links its crucially, and, / rhythmic properties. To time properties. the rhythmic EFBD BDEAFC 4 Cycle 30 5 3 2 4 4 E DFCAEB 5 Cycle Carmen 2 5 5 2 6 F 32 ,

and and and and - - - What Birtwistle was searching for was a way to close his circle, to create to create circle, his a way to for close was searching was Birtwistle What veals that he composed the mechanisms as discrete blocks, confirming confirming blocks, discrete as mechanisms the he composed that veals with its relentless machine-like character: the mechanism which starts starts which mechanism the character: machine-like relentless its with from his own system in order to achieve a particular musical effect, by effect, musical aparticular order to achieve in system own his from transgressing plan, the from altered have been occurrences mechanism re-ordering and even discarding almost a third of the original plan. original of the athird almost discarding even and re-ordering mechanicae perpetuum. perpetuum. mechanicae ing to the plan), but he then ‘edited’ the results. the plan), ‘edited’ to the but heing then have shed new light on the mysteries surrounding the compositional compositional the surrounding mysteries on the have light new shed non-linear.” painting. As he stated to Maddocks, “I can tell you something specific specific you something tell “I can to Maddocks, he stated As painting. processes in predict less becomes which section, second followed by the phase tional the manuscript around the room to try and ‘visualize’ the piece as a as piece the ‘visualize’ and room to try the around manuscript the in Tablemay 2 outlined alterations The other chirpings. and pulsations of round mechanistic endless the again to begin ready cycle, plete the pivot her acentral as way, acts then idiosyncratic an such in piece, the accord (perhaps version piece strictly of the initial he completed an that register to the system organizing aseparate applied then he that we notes know program brief own Birtwistle’s and sketches the rhythmic adistinct one possesses each that chop away the last eight mechanisms to enable a return to mechanism D to mechanism to enable areturn mechanisms eight chop last away the score to the end of the plan, but recent revelations in Maddocks’s book but in recent revelations plan, end of the toscore the about Paul Klee, and the indebtedness in this piece piece this in indebtedness the and Klee, about Paul of the subject to the music analogous mechanistic rhythmic a perpetual able, displaying an individual asymmetrical nature. All but one of the All nature. asymmetrical individual an displaying able, transi then ofkey a 36.is There units by divisible characterized is and also have occurred at this point. Certainly Birtwistle may have placed Birtwistle Certainly point. at this have occurred also to com piece the before ending section, second of the entry the alding is But he reveals analysis). what this in later (discussed dynamics and “So I generated a long piece and then I put a line through it. This line was was line This it. through Iput aline then and along piece Igenerated “So Until recently it was not clear why Birtwistle did not continue the the not continue did why Birtwistle not clear it was recently Until One solution to achieving this “non-linear” form was quite simple; simple; quite was form “non-linear” this One solution to achieving to Klee.” to […] how pieces. is it relates at the looked this and So my walls round paper […] of manuscript acircle Imade survived. that part the out, Icut part like a circle. I cut out from it. […] it. out from Icut – acircle. piece that like 33 34

Carmen . In conversation with Maddocks, Birtwistle re Birtwistle Maddocks, with conversation . In When I express how that piece came about, it’s about, came piece how that I express When / textural character. From character. textural Carmen Arcadiae Carmen Carmen arcadiae Carmen / orchestration orchestration – is the the –is ------Three opposing schemes Three within a system which would establish ‘independent time scales’ for the for the scales’ time ‘independent establish would which asystem within I would draw attention to a previously overlooked small sketch found sketch overlooked small to apreviously attention draw I would apotential and mechanisms six of his nature the established Having mechanisms, register and dynamics of the piece. To piece. how of the he understand dynamics and register mechanisms, he may have moved some of the blocks around by physical exchanging exchanging by physical around he may have moved blocks some of the highlighted earlier, but before referring to this section of the sketches, sketches, of the section to this earlier, but before referring highlighted them in order to gain the overall musical cyclic form he was striving for. striving he form was cyclic musical overall the order to gain in them large circular form. It is not too far-reaching an assumption to suggest to suggest assumption an It form. not far-reaching is too circular large cant, as it shows the early stages of Birtwistle working out a structural out astructural working of Birtwistle stages early it shows as the cant, (Fig. portfolio of the nine on page them about placing set then Birtwistle occur, might they which order in approached this, we must return to the compositional sketches. sketches. compositional to the we return must approached this, A large part of the sketches consist of the pre-compositional plan plan pre-compositional of the consist sketches of the part A large 5). This sketch is particularly signifi 5).particularly is sketch This - “higher articulation in free choice individually accented and rhythm and accented choice individually free in articulation “higher ‘individual’ structure, and this drawing shows us that this was very very was this that shows us drawing this and structure, ‘individual’ volumes of his notebooks. his of volumes much in his thinking when working out his structural approach to structural out his working when thinking his much in men. icised.” its proportionally random horizontal distribution. horizontal random proportionally its has then imposed a ‘higher articulation’ of a single line, which intersects intersects which line, of asingle articulation’ a‘higher imposed then has the smaller scale structure. This line has an ‘individual’ character with with character ‘individual’ an has line This structure. scale smaller the drawn squares distributed among three horizontal rows. The resulting The rows. resulting horizontal three among distributed squares drawn ones made by Klee concerning ‘individual – dividual’ structure in both both in structure –dividual’ ‘individual concerning byones Klee made Birtwistle rhythm. one plus one horizontal a‘dividual’ with combined structure described here as “[a]n unaccented rhythmical base” with a with base” “[a]n here as described rhythmical unaccented structure relationships of vertical set random a seemingly produces structure approach to to approach Purely Planar Planar Purely Birtwistle was very familiar with Klee’s notion of ‘dividual’ versus versus Klee’s notion of ‘dividual’ with familiar very was Birtwistle There are striking similarities between Birtwistle’s sketch and the and sketch Birtwistle’s between similarities striking are There 35 Like Klee, Birtwistle seems to be working out some kind of out some kind working to be seems Birtwistle Klee, Like Carmen (Fig. . The sketch consists of an arrangement of hand hand of arrangement an of consists sketch . The 6)

shows how Klee would combine a ‘dividual’ a‘dividual’ combine would shows how Klee Foundation. Sacher ©Paul Collection, Birtwistle p. 9,Harrison sketch, pre-compositional Perpetuum icae Mechan Arcadiae Carmen 5

Harrison Birtwistle: Birtwistle: Harrison (1977/78), Car 133 - - -

© 2020 Schwabe Verlag – Separatum – Open Access gestattet © 2020 Schwabe Verlag – Separatum – Open Access gestattet BG/2012/01/04/267/ lehre.zpk.org/ee/ZPK/ ( 1921/22],p. 192 script Gestaltungslehre 6 www.kleegestaltungs

Paul Klee: Klee: Paul Bildnerische [Manu­ ).

134 fore symmetrical versus non-symmetrical balance was central to his to his central was balance non-symmetrical versus fore symmetrical rows and a higher level of decision-making, superimposed upon it. superimposed of level decision-making, ahigher rows and three tripartite grid structure to three horizontal lines (Fig. 7). lines He then horizontal to three structure grid tripartite three of level decision-making onto ahigher which structure, grid temized of idea asys the Furthermore, approach. compositional his in thinking dialectical relationship between a ‘dividual’ grid system across three three across system grid a‘dividual’ between relationship dialectical could be imposed, was at the heart of this balance. of this heart at the was imposed, be could As Birtwistle begins to develop his structural ideas, he transfers his his he transfers ideas, structural to develop his begins Birtwistle As What it does show is that ‘individual – dividual’ structure and there and structure –dividual’ ‘individual show it that does is What - - viation from his original systems has caused difficulties for previous for previous difficulties caused has systems original his from viation which he then selects at random from tables. from at random selects he then which up to the systems he devised. As stated earlier, the bilateral structure of structure bilateral earlier, the stated As he devised. systems up to the more up to the series the in next the before moving line spaced ularly mechanisms (textural rhythm). He then distributes these schemes schemes these distributes He then rhythm). (textural mechanisms four occurrences of the mechanisms (D, B, A, E) along the lower (D, E) the A, reg B, along mechanisms of the occurrences four ing the combination of ‘individual’ (in this case based on golden section on golden section based case (in this of ‘individual’ combination the ing to Klee’s plan sketch of Birtwistle’s similarities to note the interesting inal plan. We can therefore assume that one compositional aim of the of the aim one compositional that We assume therefore plan. can inal the fromthen moves scheme The dynamics top line. spaced irregularly proportions) and ‘dividual’ elements to create rhythmic movement. elements rhythmic to create proportions) ‘dividual’ and piece is to present a navigation from a determinate system to a higher to ahigher system adeterminate from to present is piece a navigation order to from a more regular shift by the characterized piece, overall the path their maintain orchestration and register the top and to lower line types: these are then assigned numbers numbers assigned then are these types: lines having a mixture of durations – the middle line containing longer containing line middle –the of durations amixture having lines lies at the very heart of understanding the artistic aim of the piece. piece. of the aim artistic the of understanding heart very at the lies de towards propensity Birtwistle’s decision-making. oflevel intuitive durations and the upper line containing more irregular durations. It is durations. more irregular containing upper line the and durations dialectic relationships, the overall oppositional relationship and there and relationship oppositional overall the relationships, dialectic of composition the in decision-making not leavedid the dynamics scheme consists of groupings of one to two, three and four four and of three of one groupings to two, consists scheme dynamics classroom examples such as the example in Fig. in example the as such examples classroom on the middle line. line. middle on the blocks that are made of regular cells of eighteen units, with the other other the with units, of eighteen cells of regular made are that blocks but at the same time they are entirely independent of each other, of each independent which entirely are they time same but at the numbers, assigned elements are register the and dynamic the both subdivides these lines into durational blocks. durational into lines these subdivides gives the piece its multi-layered and unpredictable quality. unpredictable and multi-layered its piece the gives arate schemes to govern dynamics, orchestration-register and the six six the and orchestration-register to govern dynamics, schemes arate analysts (as discussed later in this article), yet, it is this deviation, which which deviation, this it is yet, article), this in later (as discussed analysts orig the from deviation amarked with one, coincides a more irregular effect, compositional overall to an other, upon each contributing acting (Fig. first 7) plan the placed sketch he has the In lines. three the among Although Although The overall effect of this methodology is that the three elements are three elements the that is methodology this of effect The overall scheme a denotes simple The register However, as with the sequence of the mechanisms, it seems Birtwistle Birtwistle it seems mechanisms, of the sequence However, the with as Birtwistle then divides his compositional materials into three sep three into materials compositional his divides then Birtwistle Carmen is a complex composition, containing multiple multiple acomplex is containing composition, pp, mp, f, ff high, middle high, 37 36 The lower line contains contains The lowerline 8, where Klee is discuss is where8, Klee . In the sketch plans plans sketch the . In or or Carmen low , while the the , while entirely entirely ------Another example of this oppositional balance between system and self self and system between balance oppositional of this example Another Maddocks: Harmonic materials Harmonic fore the main artistic tension within the piece is the one between the the one between the is piece the tension within artistic main fore the relationship of the pitch choices in pitch in choices of the relationship is not a question of the composer making decisions purely for musically for purely musically decisions making composer of the notis aquestion lysts have expended great effort in trying to define the exact harmonic harmonic exact the define to trying in effort great have expended lysts decorative results; this is the main artistic objective artistic main the is this results; decorative can be found in the choice of harmonic materials themselves. Ana themselves. materials choice of harmonic the found in be can This designed. has he himself system the and will intuitive composers scheme at work is supported by Birtwistle’s recent discussions with with recent discussions by Birtwistle’s atscheme work supported is and constraint, inherent in the painting the in inherent constraint, and freedom between relationship oppositional for the analogue aperfect as Carmen . That there is a unifying unifying thereis a . That

of the piece, acting acting piece, of the - There has been some disagreement between previous analysts regarding regarding analysts previous between disagreement some been Therehas I’m happy it’s quite vague.” but I don’tthis to. want to formulate trying about thought I’ve often to this aspect of his compositional approach is carefully considered. It considered. carefully approach is compositional of his aspect to this in scheme harmonic of a application specific the evidence that his decision to leave a degree of intuitive decision-making decision-making of intuitive to leave decision adegree his that evidence sations with Maddocks Birtwistle himself states that “It’s about making “It’s that states about making himself Birtwistle Maddocks with sations appears to be an admission of a lack of rigor in his approach is actually actually approach is his in of rigor of alack admission an to be appears a chord. […] […] intuition? your from How something do you make “In “In which had no relation to each other. I didn’t consider what the relationship relationship the what consider Ididn’t other. each to no relation had which harmony I chose. They all belonged to the same harmonic family – like like – family harmonic same the to belonged all They Ichose. harmony different people within it, each with their own character. character. […] was own there their with each it, within people different of these various elements was, only that there was a unity because of the of the because aunity was there that only was, elements various of these an inner unity.” inner an Carmen arcadiae Carmen 38 I invented, like wild track, say five different musics musics different five say track, wild like Iinvented, 39 As so often with Birtwistle, what at first first what at Birtwistle, with often so As © Paul Sacher Foundation. Sacher © Paul Collection, Birtwistle rison p. 14,Har of composition, Perpetuum Mechanicae men Arcadiae 7

Carmen Harrison Birtwistle: Birtwistle: Harrison (1977/78),plan . In his conver his . In Car 135 - - -

© 2020 Schwabe Verlag – Separatum – Open Access gestattet © 2020 Schwabe Verlag – Separatum – Open Access gestattet individuals”. rhythmic eight tothirteen[;] unit(I): assembled the –“itrepeats golden ratio” with individual “rhythmic BG/2012/01/04/071/ lehre.zpk.org/ee/ZPK/ ( 1921/22],p. 69a script Gestaltungslehre 8 www.kleegestaltungs

Paul Klee: Klee: Paul Bildnerische [Manu­ ) ­

136 mechanistic automaton with its twisted unnatural birds and its dark dark its and birds unnatural twisted its automaton with mechanistic requires deviation.” requires its own dramatic setting. In Klee’s words, if this complementary colour colour complementary this Klee’s if In words, setting. dramatic own its systemized and intuitive between act balancing to his fundamental is theme existed in isolation “a kind of tranquillity would set in”, set would we saw as of tranquillity “a isolation kind in existed theme limited palette of complementary blues and pinks in order to provide in pinks blues and of complementary palette limited decision-making. earlier in the composition the in earlier be dead, an inactive harmony. What we need is an active harmony. This harmony. This active an is we harmony. need What inactive an dead, be smudged forms onto the simple two-part ‘static’ harmony of the colour colour of the harmony ‘static’ onto simple two-part smudged forms the In In Like the harmonic setting in in setting harmonic the Like Twittering Machine 40

North Sea Picture Sea North , Klee creates tension by superimposing the the tension by superimposing creates , Klee Carmen , Twittering Machine , but as Klee states “it would would “it states Klee , but as uses a uses Time which is at the discretion of the conductor or musician(s). of the is often discretion at the is This which Having established the structure of structure the established Having

field. In field. used by composers to intensify beginnings, endings and transitional transitional and endings beginnings, to intensify by composers used mechanical nature of the mechanisms. mechanisms. of the nature mechanical rhythmical materials, register. and of dynamics schemes asymmetrical and mechanisms independent register and dynamic schemes, this leaves one final, struc leaves one final, this schemes, dynamic and register independent ies Klee’s static – dynamic dualism. The other function of the of function The other dualism. –dynamic Klee’sies static the starkness of the oppositions, signalling the end of one block and the end the of one and the block signalling oppositions, of the starkness the tural element, the tural the painting itself. As described earlier, the colour field setting for the for setting field colour earlier, the described As itself. painting the of meaning structural the account into takes role, which afurther pose con worldly the from or listener to remove viewer the time, to suspend chord was that if of Equally, resolution. sense the tonicexaggerates the to returning acadence chord following a sustained for example, phases, creative the between correlations the to in relation significance their lar rhythmic pulse onto which he superimposes his rhythmical, textural textural rhythmical, his onto he superimposes which pulse rhythmic lar cerns of strictly measured tempo. In the context of context the tempo. In measured of strictly cerns to achieve movement required is further that suggesting completeness, of beginning of the next.” of the beginning balance. This psychological dualism inherent in a single symbol embod symbol in a single inherent dualism psychological This balance. ships within the work. The sense of a multi-dimensional cosmic space, space, cosmic of a sense Themulti-dimensional work. the within ships relation dialectic the to understanding importance of vital is subject ate between the sections, negating any sense of transition between them. them. between of transition sense any negating sections, the ate between relentless with strongly so it contrasts as device, useful a particularly a suspension or dissonant in nature it would heighten the sense of in sense the itheighten would nature in or dissonant a suspension of the length a note represents pause or symbol The context. a musical Klee. and of Birtwistle approaches to time aims compositional to the importance their It that possible is anisms. “They are not transitions between mechanisms, but they do mitigate mitigate do they but mechanisms, between transitions are not “They Analysts have suggested that the purpose of these pauses is to deline is pauses of these purpose the that have suggested Analysts of the function the with familiar was Klee amusician, As While this is certainly one possible function of the rests, I would pro Iwould rests, of the one function possible certainly is this While Carmen Carmen Carmen has been underestimated by previous analyses, particularly particularly analyses, by previous underestimated been has Birtwistle introduces his static generic chord and regu chord generic and static his introduces Birtwistle fermatas / textural mechanisms and the organization of the of the organization the and mechanisms textural 41

, which separate the majority of the mech of the majority the separate , which Carmen in relation to its harmonic harmonic to its relation in Carmen this seems seems this fermata fermata in in is is ------­

The constraint of gravity andman’s Klee’s is fly to one of desire most gravity of constraint The (1905, 7) viewpoint. To the same end, Birtwistle employs his suspended rests to rests suspended employs his To Birtwistle end, same the viewpoint. work of the rhythmic structure, beat, and tempo.” and beat, structure, work rhythmic of the Bauhaus teaching, the metronome was an important symbol of the op of the symbol important an metronome was the teaching, Bauhaus field, both suggesting a suspension of rational law. rational of suspension a suggesting both field, fermata viewer the fore allow way. atransformed in mechanisms adifferent to gain device, mechanized the surrounds which setting, mic composition musical in time laws of rational of the suspension for the rests, where the notes held in suspension are punctuated with aper with punctuated are suspension held notes in where the rests, in which the machine is situated, would conceivably allow the viewer to viewer the allow conceivably would situated, is machine the which in Suspension of rational time, by stopping the metronome, would there would metronome, by the stopping time, of rational Suspension navigate around the machine viewing it from multiple perspectives. The perspectives. multiple it from viewing machine the around navigate point represented a frozen analogue of the musical metronome. In his his In metronome. musical of the analogue represented afrozen point time, where earthly constraints such as gravity no longer have control gravity as such constraints where earthly time, as such in pictures it wepotent find oppositions; momentum. and gravity between balance posing cussive staccato accent. These These accent. staccato cussive because it momentarily and indefinitely disrupts the calibrating frame calibrating the disrupts indefinitely and it momentarily because suggests multi-dimensional space, the viewer can sink back into the cos the into back sink can viewer the space, multi-dimensional suggests analogue of the visual visual of the analogue will. at space in a multi-dimensional to fly free we are and to present ready the perspective, his to reposition composer the allow “The pendulum is an expression of temporal unity, a compromise between between compromise a unity, temporal of expression an is pendulum “The “It is this contrast between power and prostration that implies the duality duality the implies that prostration power and between contrast “It this is Andrew Kagan has suggested that for Klee the curved arch and fixed fixed and arch curved the for Klee that suggested has Kagan Andrew symbol a sense, in a is, out Kennon point fermata “The and Kagan As There is also a third element to the nature of some of the transitional transitional the some of of thenature element to third a also is There reach, the more painful man’s tragic limitation.” man’s tragic more painful the reach, ity and momentum.” and ity is the mediary between earth and world. The broader the magnitude of his his of magnitude the The broader world. and earth between mediary the is movement and countermovement, the symbol of mediation between grav between of mediation symbol the countermovement, movement and of human existence. Half winged – half imprisoned, this is man! Thought Thought man! is this imprisoned, –half winged Half existence. of human 44 can be seen as an analogue for the cosmic setting of the colour colour of the setting cosmic for the analogue an as seen be can and in the the in and / Pedagogical Sketchbook Pedagogical listener to enter a realm of non-rational suspended suspended of non-rational to enter arealm listener 43 fermata fermatas symbol. can be seen as a direct musical musical adirect as seen be can where he describes: 45

Hero with One Wing One Hero with 42 The colour fieldcolour The ------

As I highlighted earlier Ihighlighted As The complex, seemingly chaotic nature of nature chaotic complex,The seemingly vious in the aural perception of the piece. Yet analysis begins to show begins Yet piece. of the perception analysis aural the in vious while the score gives the direction “ direction the gives score the while Conclusion us just how rigorously composed that complexity is. Initially we have Initially is. complexity that how composed just rigorously us mechanisms, there are deeper layers of activity – the register and dy and register –the layers of activity deeper are there mechanisms, role. In fact, the very last statement of the piece is a single held note asingle is piece statement of the last very the fact, role. In ing to the works that the links between them are most strongly evident strongly most are them between links the that works to the ing the within oppositions work, the musical the like that and creation its namic schemes, which Birtwistle has purposely disconnected from the the from disconnected purposely has Birtwistle which schemes, namic positional tensions. tensions. positional perceived. at first complex than and more subtle are painting avisual is itself to show Ihave painting attempted how the painting? relate to the oppositions How is: do these question the So ponentially. upon these But continuity. acting of temporal sense logical any pend their by highlighted themselves, the mechanisms between conflict the distinct characteristics and the way Birtwistle avoids any obvious tran obvious avoids any way Birtwistle the and characteristics distinct equal divide. The second half of the work begins to display display asym more to the workbegins of half second The divide. equal confound classification, moving between a background or foreground or foreground background a between moving classification, confound tension dynamic creating of to expect, what perception our challenging brutal way, sometimes separating them with with them separating way,brutal sometimes by presenting by presenting symmetry, yet like with Klee, this symmetry is never a straightforward never a straightforward is symmetry this Klee, with like yet symmetry, numbers. of random asystem using mechanisms, of the sequence and astark in them to juxtapose instead He chooses material. sitional a visual architecture, which seeks to contain these highly charged op charged highly these to contain seeks which architecture, a visual to contribute elements that of opposing structure a multi-dimensional of time the at Bauhaus the within conflicts tensions and of the analogue and in the painting itself. itself. painting the in and composition the in inherent dualism dynamic static the it embodies as statement final afitting as seen be it yet can impossibility, a performative The potential for oppositional effects has therefore multiplied ex thereforemultiplied has effects for oppositional potential The viewing when level organizational higher It at perhaps this is Like the musical composition, all of these elements multiply to build to build elements multiply of these all composition, musical the Like active these creating By fermatas that are neither static, or fully in motion, that motion, that in or fully static, neither are that , Carmen / inert structures, Birtwistle once again is is once again Birtwistle structures, inert can be viewed as having a bilateral abilateral having as viewed be can molto rall[entando]molto Carmen fermatas is immediately ob immediately is that serve to sus serve that ”. This in itself is ”.in itself This / listen 137 ------.

© 2020 Schwabe Verlag – Separatum – Open Access gestattet © 2020 Schwabe Verlag – Separatum – Open Access gestattet The movement from the predetermined system to a less predictable and predictable to a less system theThe movementpredetermined from This quotation perfectly shows how Klee could rise above the trivialities trivialities the above rise could Klee shows how perfectly quotation This Machine Machine 138 free compositional approach in approach in compositional free painting. the within relationships for the analogue aperfect is magical of unpredictability, sense to agreater add which tendencies, metrical removed from such polar debates. This neutrality, however,that neutrality, meant This debates. polar removed such from immediate present. Klee conveys this cosmic viewpoint by placing the the by placing viewpoint cosmic this conveys Klee present. immediate here. Klee and Birtwistle demonstrate the relative futility of the oppo of the futility relative the demonstrate Birtwistle and here. Klee voice of rea impartial an as act to arguments into dragged often he was poser overriding his own predetermined schemes. schemes. predetermined own his overriding poser through the ‘out of time’ nature of his of his ‘out nature the of time’ through drama in a setting that seems to transcend the worldly concerns of the of the concerns worldly the to transcend seems that asetting in drama drama within his otherworldly colour field and Birtwistle achieves this this achieves and Birtwistle field colour otherworldly his within drama opposing ideologies. Klee himself was always portrayed as being above being as portrayed always was himself Klee ideologies. opposing painting. of the conflicts for fuelling the artistic product of the Bauhaus. These per two These Bauhaus. the of product artistic the fuelling for conflicts of these potential he saw the that but also battles, ideological of these son. After one such occasion in 1921 he wrotein to Gropius state: 1921 he to occasion onesuch After son. sitions within their respective works in two ways. Firstly, by placing the the byFirstly, placing ways. two in works respective their within sitions discussed works the both in imbued are (cosmic earthly) and spectives and as I have shown, this is largely due to the intuitive will of the com of the will intuitive due to the largely is Ihave this shown, as and “I welcome the fact that forces so diversely inspired are working together at together working are inspired diversely so forces that fact “I welcome the This transition from the tectonic to the poetic, the theoretical to the to theoretical the poetic, the to thetectonic from transition This However, view to simply wrong itbe would wrong; the work lives and develops through the interplay of opposing forces, forces, of opposing interplay the through develops and work lives the wrong; just as in nature good and bad work together productively in the long run.” the in productively work together bad and good nature in as just in the final product. […] On the whole, there is no such thing as a right or right as a thing such is no thereproduct. […] whole, the final On the in our Bauhaus. I approve of the conflict between them if the effect is evident is effect the if them between conflict Iapprove of the Bauhaus. our as musical and visual metaphors of metaphors astruggle visual and musical as Carmen fermatas mirrors the dualistic structure structure dualistic the mirrors Carmen . and and

between two two between Twittering 46 / - - - - victory for the mechanistic side of the struggle, we see it as a beginning abeginning it as we see struggle, side of the mechanistic for the victory without resolution, ad nauseam. When the crank stops, it is at these at it these is stops, crank the When resolution,nauseam. ad without field and field viewer the moments that indeed composed his revelations to Maddocks, which confirm that Birtwistle viewed and viewed that Birtwistle confirm which to Maddocks, revelations his higher fatalistic and eternal power. eternal and fatalistic higher narrative that mixes mechanized and poetic sounds and images. Yet images. and sounds poetic and mechanized mixes that narrative temporal or spatial frame. or spatial temporal afixed within ajourney than rather perpetual, of the asense to create place these oppositions within a wider context, one that suggests aphil suggests one that context, awider within oppositions these place be automaton, can of the which handle crank the within lies painting the of nature cyclic The realm. a higher from viewed as repeating tory thereforeand a statement musical afinal it as see than rather turns, cated by the use of circular form, looking backwards as well as forwards forwards as well as backwards looking form, of circular use by the cated of title full The subject. of their nature cyclic osophical commentary on the futility of such conflicts in relation to a in relation of conflicts such futility on the commentary osophical pieces Both composition. charged highly and elements adramatic into background and the fractured discontinuity of line are further compli further are of line discontinuity fractured the and background and foreground between oscillation the music, and painting the both sounds and foreground action and enters the higher realm of the colour colour of the realm higher enters the and action foreground and sounds voices opposing of the sounds the repeating at will, started, and stopped a sense of a never-ending procession of sounds and this concurs with with concurs this and of sounds procession of anever-ending a sense a multidimensional structure, which serves to bring together opposing opposing together to bring serves which structure, a multidimensional lies there impression, surface that beneath that demonstrates analysis his of mankind, struggles perpetual to the areturn end; an as well as perpetual the suggest artist and composer wayboth the is second The The initial encounter of both works suggests an eccentric, whimsical whimsical eccentric, an suggests works encounter both of initial The So when the third occurrence of the machine-like mechanism re mechanism machine-like of the occurrence third the when So fermatas Carmen . / listener draws away for the immediacy of the of the away immediacy for draws the listener as a circle, not a linear sequence of events. In In of events. sequence not alinear acircle, as Carmen clearly points to points clearly / - - - - Art”, in: Andrew Kagan: Kagan: Andrew in: Art”, ‘Individual’ and ‘Dividual’ of theory Klee’s of development the of discussion A detailed Thomson, Ostfildern 2008, pp.165 2008, Ostfildern Thomson, Whittall: The Geometry of Comedy, in: in: Comedy, of Geometry The Whittall: Anmerkungen Cave Walls to Computer Screens Computer to Walls Cave Klee. Art and Music and Art Klee. graphy John Caldwell: Caldwell: John Michael Hall: Hall: Michael tering Machine tering Email correspondence with the author, 9 November 2010. 9November author, the with correspondence Email visit art galleries where he could be seen “gazing at the Cézannes”, ibid., p. ibid., Cézannes”, the at “gazing seen be could he where galleries art visit strophe, with the Bleeding Dog Bleeding the with strophe, 1980s the of sers works ‘connected’ to Klee’s œuvre, and and œuvre, Klee’s to ‘connected’ works don drawing. include disaster ding 31. Berlin, Nationalgalerie, blems and Practices in the Middle Ages and Renaissance and Ages Middle the in Practices and blems meister: meister: structure can be found in in found be can structure pp. 67–69. This is a theme enthusiastically taken up in John F. Moffitt: Paul Klee’s Paul in John F. Moffitt: up taken enthusiastically theme is a This pp. 67–69. original the in pronounced more was which process, transfer the during fermata the 800 over are there estimates He currently archive. music Centre Klee Paul the for terial p. 150. book) in his analysis of of analysis his in book)

19 18 17 16 15 14 13 12 11 10 20 25 24 23 22 21 8 9 6 4 5 2 3 / 7 1

Hall: Hall:

Hall: Hall:

New York 1961 (The Notebooks of Paul Klee, Klee, Vol. 1), p. 105. Paul of YorkNew 1961Notebooks (The

Grohmann: Grohmann:

9(1983), pp. 135–174. Ibid., p. 103. Ibid., Paul Klee: Paul Busch-Reisinger Museum, acq. No. acq. Museum, Busch-Reisinger Christina Thomson: Theater, in: Theater, Thomson: Christina Donald Kennedy: Kennedy: /Donald Wheye Darryl Ibid., p. 111. Ibid., Paul Klee. The Thinking Eye Thinking The Klee. Paul Musicologist Stephen Ellis was instrumental in providing much of the early ma early the of much providing in instrumental was Ellis Stephen Musicologist Ibid., p. 7.Ibid., Other examples of the use of the exclamation mark to depict danger or impen or danger depict to mark exclamation the of use the of examples Other Maurice L. Shapiro: Klee’s Twittering Machine, in: in: Machine, Twittering Klee’s Shapiro: L. Maurice For a discussion of Birtwistle’s notion of Cantus vs. Continuum see Arnold Arnold see Continuum vs. Cantus of notion Birtwistle’s of adiscussion For See chapter 2, “Operatic Paintings: The Roles of Line and Poetry in Klee’s Mature Klee’sMature in and Poetry Line of Roles The Paintings: “Operatic 2, chapter See Birtwistle in his notes for for notes his in Birtwistle including techniques musical medieval of discussion adetailed For Griffiths: Paul after Birtwistle p. 7.Ibid., to instead preferring concerts at found be rarely would Birtwistle that noted Hall the of content the in (as named numbers” of “dance the of discussion Hall’s See p. 150. Ibid., p. 26. Ibid., 1983. December Hall, Michael with conversation in France in home at Birtwistle The Making of Paul Klee’s Career, Career, 1914–1920 Klee’s of Paul Making The Harrison Birtwistle Harrison Birtwistle Harrison Harrison Birtwistle Harrison Medieval Music and the emblematic ‘birds-in-bondage-vile’ theme, in: in: theme, ‘birds-in-bondage-vile’ emblematic the and , London 1985, p. 1985, 191. , London Pedagogical Sketchbook Pedagogical Paul Klee Paul , p. 110. Main scene from the Ballet “The False Oath” False “The Ballet the from scene Main …agm… Paul Klee. Art and Music and Art Klee. Paul Paul Klee. The Thinking Eye Thinking The Klee. Paul 10. , New York, New p. 246. 1954, (1922, 193). Interestingly Klee has removed the dot within within dot the removed has Klee (1922, 193). Interestingly 2008 , Bloomington 1978; or Lloyd Ultan: Ultan: Lloyd or 1978; , Bloomington , p. 34. , p. 20. , , New Haven, CT 2008, p. 2008, CT Haven, , New Tragoedia

ibid., , f., here p. 166. here f.,

London , ed. by Jürg Spiller, transl. by Ralph Manheim, Lon Manheim, Ralph by transl. Spiller, Jürg by , ed. – 8. New Sounds, New Personalities. British Compo British Personalities. New Sounds, New

pp. 98–103. pp. Twittering Machine Twittering 2. The Klee Universe Universe Klee The Humans, Nature, and Birds. Science Art from from Art Science Birds. and Nature, Humans, Musical Times Times Musical 2009], ed. by Dieter Scholz and Christina Christina and Scholz Dieter by 2009], ed. , New York, New p. 1953, 21. 1962.31. English translation after Kagan: Kagan: after translation 1962.31. English ,

1984 (The contemporary composers, 4),Vol. composers, contemporary (The 1984 cited in Hall: Hall: in cited London 1983, pp. 95–143. 95–143. pp. 1983, /London Ithaca , odn 99 p 240. p. 1989, /London Chicago , , pp. 217–292 134 (1993) 134 , Minneapolis 1977. , Minneapolis Harrison Birtwistle Harrison 79. See also Otto Karl Werck Karl Otto also 79. See [Exhibition Catalogue Neue Neue Catalogue [Exhibition The Art Bulletin Art The is the most popular subject. subject. popular most the is , (1922, 155) and . 19. p. esp. 17–19, pp. Music Theory. Pro Theory. Music Studies in IconoStudies 4. Ars nova Ars 50/1 (1968), , p. 39. Cata Twit Paul Paul see ------­ Arcady. The Development of an Aesthetic in Birtwistle’s Orchestral Works Written for Written Works Orchestral Birtwistle’s in Aesthetic an of Development The Arcady. 94. Malklasse von Paul Klee Paul von Malklasse Birtwistle Harrison Sir of Music Magazine 1999; and David Jason Beard: Beard: Jason David and 1999; concerto piano Birtwistle’s to specifically refers here 1993), Griffiths p. 85. (March 1978), pp.(March (1991/92). gacy Secret Theatre Secret London 2014, pp. 74 2014, London London 1973 (Paul Klee Notebooks, Vol. 2), Notebooks, Klee 1973 (Paul London the London Sinfonietta Between 1977 and 1984 and 1977 Between Sinfonietta London the work, work, würde dort eine Art Beruhigung eintreten, die gleichbedeutend wäre mit vollständigem vollständigem mit wäre gleichbedeutend die eintreten, Beruhigung Art eine dort würde ein Abweichen.” Ibid., p. 30. Ibid., Abweichen.” ein inaktive Harmonie. Die Forderung ist aber eine aktive Harmonie. Somit erfordert dies dies erfordert Somit Harmonie. aktive eine aber ist Forderung Die Harmonie. inaktive eine ist wäre, tot erfüllt, selbstlos Bedingung letzte diese sich daß dadurch, aber die ist, mann: mann: Stillstand. Eine Harmonie, die ihren Sinn hat und als Exempel für Harmonie wertvoll wertvoll Harmonie für Exempel als und hat Sinn ihren die Harmonie, Eine Stillstand. 17, 25 (dynamics). and and (register) 24 14 and 12 11, 8, pages folder sized durations. these for workings the contains 21 A4: page Sketch one. same the of subforms Perpetuum Mechanicae Arcadiae Carmen lysing senthal: The Myth of flight in the art of Paul Klee, in: Klee, Paul of art the in flight of The Myth senthal: p. birthday”. tenth their posed for the Sinfonietta between 1976 and 1984, the others being being others the 1984, 1976 and between Sinfonietta the for posed thod, in: thod, of a Me Progress The T. Stravinsky. Cone: Edward paraphrasing by Stravinsky of that 78. 40 46 45 44 43 42 41 39 38 37 36 35 34 33 32 31 30 29 28 27 26 , Cambridge 1998, pp. 71–78; Brian Carl Robison: Robison: Carl Brian pp. 71–78; 1998, , Cambridge Cross: Cross:

Birtwistle:

Birtwistle: Chorale from aToy-Shop from Chorale Sketches detailing the number rotations for these elements are found in the A4 A4 the in found are elements these for rotations number the detailing Sketches Initially Cross defined seven mechanisms but he concluded that six and seven are are seven and six that concluded he but mechanisms seven defined Cross Initially Ibid., p. 66. Ibid., Bayan Northcott: London Sinfonietta Tenth Anniversary Concert, in: in: Concert, Tenth Anniversary Sinfonietta London Northcott: Bayan For further discussion of the man’s incapacity to fly in Klee’s art see Mark Ro Mark see art Klee’s in fly to man’s incapacity the of discussion further For The analyses that have been considered are Jonathan Cross: Cross: are Jonathan considered been have that analyses The One unit in the plan is equivalent to a duration of one quarter note in the score. score. the in note quarter one of aduration to equivalent is plan the in unit One Birtwistle quoted in Hall: Hall: in quoted Birtwistle Pedagogical Sketchbook, Pedagogical Eye Thinking The Klee. Paul Nature of Nature The Klee. Paul Klee in a letter written to Walter Gropius in December 1921, cited after Groh after cited 1921, December in Gropius Walter to written aletter in Klee Eye Thinking The Klee. Paul Ibid., p. 75. Ibid., Harrison Birtwistle: Birtwistle: Harrison The score is dedicated “To my friends the London Sinfonietta on the occasion of occasion the on Sinfonietta London the “To friends my dedicated is score The Kagan Andrew Paul Griffiths: Harrison Birtwistle’s hands, in: hands, Birtwistle’s Harrison Griffiths: Paul Paul Klee Paul Perspectives of New Music Music New of Perspectives 56/1 (1981), pp. p. 166–170, 67. here TheLegacy Stravinsky (1984). , p. 64. Wild Tracks Wild Tracks Wild 27 f. f., here p. here f., / Carmen William Kennon: The Fermata in the Art of Paul Klee, in: in: Klee, Paul of Art the in Fermata The Kennon: William , Bern 1957, “Harmonisch – organisch” (pp. –organisch” 1957, “Harmonisch , Bern Wild Tracks. A Conversation Diary with Fiona Maddocks Fiona with Diary A Conversation Tracks. Wild An Analysis and Sketch Study of the Early Instrumental Instrumental Early the of Study Sketch and Analysis An , p. 66. , pp. 67 is the second in a trilogy of works that Birtwistle com Birtwistle that works of atrilogy in second the is 28. Northcott refers to the title of an earlier Birtwistle Birtwistle earlier an of title the to refers Northcott 28. p. 54. p. (1967). See also Alison Patricia Deadman: Deadman: Patricia Alison (1967). also See , PhD dissertation, University of Oxford 2000. Oxford of University dissertation, , PhD Harrison Birtwistle Harrison , p. 387. , p. 515. Translated after Petra Petitpierre: Petitpierre: Petra after , p. Translated 515. , p. 78. Cross is comparing Birtwistle’s approach to to approach Birtwistle’s comparing is Cross , p. 78. 1/1 (1962),1/1 pp. 18–26. f. , ed. by Jürg Spiller, transl. by Heinz Norden, Norden, Heinz by transl. Spiller, Jürg by , ed.

p. 209. p. , MA Thesis, University of Leeds, 1990, 1990, Leeds, of University Thesis, , MA , PhD dissertation, Cornell University University Cornell dissertation, , PhD , p. 177. The New New The Yorker Arts Magazine Arts Towards a Methodology for Ana for Towards a Methodology Silbury Air Silbury The Stravinsky Le Stravinsky The 52/1 (1977), 52/1 pp. 69, No. 22 (19 No. 22 69, July 30 Antiphonies f.), here “Es f.), “Es here Mechanical (1977) and Tempo Aus der der Aus Arts Arts 139 124 124 90– ------,

© 2020 Schwabe Verlag – Separatum – Open Access gestattet Wirkungskonzepte in der abstrakten Kunst, 1910–1960 Kunst, abstrakten inder Wirkungskonzepte Amerikanistik sowie Vergleichende Kunstwissenschaft sowie und Literatur- Amerikanistik Musikforschung. Musikforschung. 2018 ist sie wissenschaftliche Mitarbeiterin am Institut für Kunst- und Kunst- für Institut am Mitarbeiterin sie2018 wissenschaftliche ist Jena, wo sie ihre Dissertation Dissertation wo sieJena, ihre Kurzbiografien wissenschaft an der Universität Freiburg folgte. Schwerpunkte seiner seiner Schwerpunkte der an folgte. Freiburg Universität wissenschaft James Dickinson Forschung sind die Musiktheorie des Spätmittelalters, insbesondere die die insbesondere Spätmittelalters, des Musiktheorie die sind Forschung Musikwissenschaft in Freiburg, Hamburg, Berlin und Kiel undin 1982 letz Berlin Hamburg, in Freiburg, Musikwissenschaft Rousseau, Berlioz). 1998–2001 war er Schriftleiter der Zeitschrift Zeitschrift der Berlioz).Rousseau, erSchriftleiter 1998–2001 war 15. und Jahrhunderts, 14. des Musik die Modus-Lehre, Hexachord- und Bildgeschichte der Humboldt-Universität zu Berlin. Forschungsschwer Humboldt-Universität der Bildgeschichte Berlin. zu Linn Burchert Linn Christian Berger Christian mold, Greifswald), bis er 1995 dem Ruf auf den Lehrstuhl für Musik für Lehrstuhl den bis er1995 auf Ruf dem Greifswald), mold, Spa University. He divides his time between research into “Visual Mu “Visual into research between time his Spa University. He divides terem promoviert, wo er1981–1994terem promoviert, war. 1990–1995 er Assistent nahm punkte sind Beziehungen zwischen Kunst-, Wissenschafts Ideen- und zwischen Beziehungen sind punkte die bei der Wissenschaftlichen Buchgesellschaft Darmstadt erscheint. Darmstadt Buchgesellschaft Wissenschaftlichen der bei die 17. des französi die und Instrumentalmusik italienische und deutsche zahlreiche Vertretungen wahr (Heidelberg, Bonn, Regensburg, Det Regensburg, Bonn, (Heidelberg, wahr Vertretungen zahlreiche sual Music) and his creative practice. He has performed and composed composed and performed He has practice. Music) creative his sual and Vi Music and Electronic Production, Studio in sic”, (especially teaching (Rameau, 18. 19. des und Jahrhundert Musikanschauung und Musik sche geschichte sowie Naturkonzepte und Naturzugänge in der Kunst vom Kunst der in Naturzugänge und Naturkonzepte sowie geschichte der an Friedrich-Schiller-Universität Filmwissenschaft und geschichte ausgehenden 18. bis zum 20.ausgehenden Jahrhundert. 18. bis zum Kunst für Seminars des Kunstgeschichte für Lehrstuhl am arbeiterin Mit sie 2014–2017 wissenschaftliche war Universität der Potsdam. an Anglistik und Kulturwissenschaft 2008–2014 studierte Er ist Herausgeber der Reihe « Reihe der Herausgeber ist Er is the Subject Leader for Commercial Music at Bath Music at Bath for Commercial Leader Subject the is wurde nach dem Studium der Schulmusik und der der und Schulmusik der Studium dem nach wurde Das Bild als Lebensraum. Ökologische Ökologische Lebensraum. als Bild Das Musik Grundwissen abschloss. Seit Seit abschloss. Die Die », / ------« Freiburg nach ihn führte Ausbildung Arts Thomas Gartmann Thomas Wolfgang F. Kersten Tokio, Wien und Zürich; seit September 2019Tokio, September seit Verlagsinhaber, Zürich; Wien und und CEO UK number 1 album with his band “Little Angels”. “Little band his with 1album number UK Deutschland von 1871 bis in die Gegenwart, für Paul und Lily Klee, für für Klee, Lily und Paul für Gegenwart, die von bis in 1871 Deutschland Forschungsdirektor. – Forschungsschwerpunkte auf dem Gebiet der der Gebiet dem auf –Forschungsschwerpunkte Forschungsdirektor. Habilitation 2002 mit Studien zu modernistischer Malerei, 1985 Bau Malerei, modernistischer zu Studien mit 2002 Habilitation Interpretation « Heute er(Co-)Leiter ist Doktoratsprogramms Berner des Roland Moser Roland NZZ-Rezensent, Lehrbeauftragter an verschiedenen Kunsthochschulen Kunsthochschulen verschiedenen an Lehrbeauftragter NZZ-Rezensent, und das Forschungsmanagement an der Hochschule für Musik Basel. Basel. Musik für Hochschule der an Forschungsmanagement das und HKB-Forschungsprofessur eine 2011 übernahm Universitäten und und forschung.html in Phasen historischen die für Tradition; Spezialisierungen modernen Rebec. mittelalterlichen in electronic, experimental and rock genres and his many hits include a include hits many his and genres rock and experimental electronic, in historisches Institut der Universität Zürich; parallel Ausstellungs parallel Universität der Zürich; Institut historisches 1991–2019 Bern, 1986–1991haus-Archiv, Kunst Berlin, Kunstmuseum Strand. Publikationen siehe siehe Publikationen Strand. talwerk Luciano Berios. Er wirkte als Leiter Musik bei Pro Helvetia, Helvetia, Pro bei Musik Leiter als wirkte Er Berios. Luciano talwerk keit u. zum Schweizer Jazz, zu Beethoven-Interpretationen (« Beethoven-Interpretationen zu Jazz, Schweizer zum u. Heimatstadt seiner Instrumen zum und promovierte Geschichte und Germanistik schaft, Malerei Neue Deutsche », der HKB-Forschung und von SNF-Projekten zur NS-Librettistik, NS-Librettistik, zur von SNF-Projekten und », HKB-Forschung der a. in Bern, Düsseldorf, Kyoto, Leipzig, Schopfheim, Stuttgart, Stuttgart, Kyoto, Schopfheim, Düsseldorf, Leipzig, Bern, in a. »), zur Ontologie des musikalischen Werks sowie zum Werks zum sowie »), musikalischen Ontologie des zur stammt aus Bern und studierte am Konservatorium Konservatorium am studierte und Bern aus stammt . studierte an der Universität Zürich Musikwissen Universität der Zürich an studierte promovierte 1985 mit einer Arbeit über Paul Klee, Klee, Paul über Arbeit 1985 einer mit promovierte a. Komposition bei Sándor Veress. Komposition Sándor weitere bei a. Seine », für Schweizer Kunst nach 1945 und für Paul Paul 1945 nach für Kunst und Schweizer », für www.khist.uzh.ch/de/kol/emeriti/Kersten/ / Br. 1969–1984 Köln. und unter Vom Vortrag zur Studies in the the in Studies ­tätig 141 ­ - - - - -

© 2020 Schwabe Verlag – Separatum – Open Access gestattet © 2020 Schwabe Verlag – Separatum – Open Access gestattet Theater Hannover sowie an der TU Berlin, wo er über das Thema « Thema das über wo er Berlin, TU der an sowie Hannover Theater von Musik und Sprache. und von Musik Ulrich MoschUlrich Texten –besonde zahlreichen –auch in gilt Interesse besonderes Ein Mitglied des Ensemble Neue Horizonte Bern und schuf ein umfangrei ein schuf und Bern Neue Horizonte Ensemble des Mitglied Hochschule für Musik mit Klassen für Komposition, Instrumentation Komposition, Instrumentation für Klassen mit Musik für Hochschule 142 Centre Acanthes in Metz. Seit 2013 ist er Ordinarius für Musikwissen für 2013 Seit er Ordinarius ist Metz. in Acanthes Centre und Musiktheorie. Neben seiner institutionellen Tätigkeit wirkte er als erals wirkte Tätigkeit institutionellen seiner Neben Musiktheorie. und matische Werke sowie Chor-, Orchester- und Kammermusik umfasst. umfasst. Werke Chor-,matische sowie Kammermusik Orchester- und ren Phänomenen von Harmonik, musikalischer Zeit und der Beziehung Beziehung der und Zeit musikalischer ren Phänomenen von Harmonik, und Neue Musik, Theorie Konservatorium Winterthurer eram richtete Schriften Wolfgang Rihms und schreibt über die Musikgeschichte und die Musikgeschichte über schreibt und Rihms Wolfgang Schriften dozent. Daneben lehrt er unter anderem am IRCAM in Paris und am am und Paris in IRCAM am anderem er unter lehrt Daneben dozent. Basler der an Professor 2008 Emeritierung seiner erbis zu war danach u. das Œuvre, kompositorisches ches bilitation an der Universität Salzburg, dort war er anschließend Privat eranschließend war dort Universität der Salzburg, an bilitation schaft an der Universität Genf. Er ist unter anderem Herausgeber der anderem unterHerausgeber ist Er Genf. der an Universität schaft Musik Hören serieller sikalisches studierte an der Staatlichen Hochschule für Musik und und Musik für Hochschule Staatlichen der an studierte » promovierte. 2004 folgte seine Ha seine folgte 2004 » promovierte. a. zwei abendfüllende musikdra abendfüllende zwei a. Mu ------Klee-Studien Ferne Osten. Vom Japonismus zu Zen Vom Zen zu Osten. Japonismus Ferne (Stuttgart 1995; gemeinsam mit Wolfgang mit Kersten); 1995; gemeinsam (Stuttgart war er wissenschaftlicher Assistent der Paul-Klee-Stiftung im Kunst im der Paul-Klee-Stiftung Assistent er wissenschaftlicher war Klee und Künstlern seines Umkreises, darunter: darunter: Umkreises, seines Künstlern und Klee Paul Klee, Bern. Er veröffentlichte zahlreiche Publikationen zu Paul zu Paul Publikationen zahlreiche veröffentlichte Er Bern. Klee, Paul Musikästhetik vor allem des 20. und 21. Jahrhunderts. Außerdem be Außerdem Jahrhunderts. 21. 20. des und vor allem Musikästhetik Interpretation und Reproduktion sowie der Musik in den Medien. Medien. den in Musik der sowie Reproduktion und Interpretation Osamu Okuda Osamu und am Kunsthistorischen Seminar der Universität Bern. 1996–2004 Universität der Bern. Seminar Kunsthistorischen am und museum Bern, 2005–2016 wissenschaftlicher Mitarbeiter im Zentrum Zentrum im Mitarbeiter 2005–2016 Bern, wissenschaftlicher museum mit Reto Sorg). Okuda ist Co-Herausgeber der Online-Zeitschrift Online-Zeitschrift der Co-Herausgeber ist Sorg). Reto Okuda mit Paul on Klee –Journal scher-Maschine der Teilung. Die Geschichte zerschnittener Kunst Paul Klees 1883–1940 Paul Klees Kunst Teilung.der zerschnittener Geschichte Die ten – insbesondere Tanz, Film und Bildende Kunst –, mit der musika –, der mit Kunst Bildende und Film Tanz, –insbesondere ten lischen Wahrnehmung, der Geschichte des Hörens, der musikalischen Hörens, musikalischen der des Geschichte der Wahrnehmung, lischen kinuma); kinuma); schäftigt er sich mitder anderen er sich Küns den zu von Verbindung Musik schäftigt Hans Bloesch – Paul Klee. « –Paul Klee. Bloesch Hans . studierte Kunstgeschichte an der Universität der Kōbe an Kunstgeschichte studierte / Buch Das Zeitschrift für internationale internationale für Zeitschrift (Zürich 2013; mit Marie Ka 2013;(Zürich Marie mit Paul Klee. Im Zeichen Im Zeichen Paul Klee. » (Wädenswil 2019; (Wädenswil Paul Klee und der der und Paul Klee Zwit ------