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Spring 2010 Newsletter.Indd GermanGerman CultureCulture NeNewsws Cornell University Institute for German Cultural Studies Spring 2010 Vol. XIX No. 2 In this Issue: Artist in Residence: Heiner Goebbels Artist in Residence: Heiner Goebbels in part because his list of Cornell Lecture on accomplishments is so very Contemporary Aesthetics: long, dating back to the 1970s Aesthetics of Absence: Questioning Basic when he combined music Assumptions in and sociology to compose Performing Arts “‘incidental’ music” for the Sog. Linksradikales German Studies Grad. Blasorchester—the So- Student Conference: Within or Without: Called Left-Radical Wind Space in German Orchestra—in a then still- Literature and Culture divided Germany. More Photo by Wonge Bergmann Stein, and generous visits to the point, his musical Faculty Profile: Stephan Schmidt Cornell’s Institute to several undergraduate compositions and music- for German Cultural Stud- classes in German Studies, theater productions of the Colloquium Series: ies was extraordinarily Music, and Theatre, Film intervening decades must be The ‘Experiential Community’: Early German Television and pleased to welcome Heiner & Dance, this distinguished experienced to be known. If Media Theory Goebbels as artist-in-resi- guest inspired diverse audi- Heiner Goebbels “embodies The Perfect Story: Anecdote dence for ten exciting days ences across the disciplines the spirit of democracy in and Exemplarity in Linnaeus in March 2010. His visit and in the artistic commu- the form of an orchestra,” and Blumenberg was graciously co-spon- nity too. as one commentator put it Die Evidenz der Fremde. sored by the Departments As director of the Institute when the artist was awarded Mediale Strategien of German Studies, Mu- for German Cultural Germany’s prestigious der Reiseliteratur sic, and Theatre, Film & Studies, I was especially Binding Kulturpreis in Hartz Stories: Speaking of the Dance. Encompassing an honored to introduce Heiner 2008, then we might best German ‘Welfare’ State interdisciplinary lecture on Goebbels on the occasion understand his work in terms Focus on Autonomy: (Re-)Map- contemporary aesthetics of his Cornell Lecture on of a highly participatory ping the Terrain for Foreign Contemporary Aesthetics. Language Study in University from the artist’s perspective democracy and not the Education (“Aesthetics of Absence,” His many talents made my representative kind. task diffi cult, for he is a Rules without Rule: Towards a included in this issue of Described by Theory of Verfahren in Kleist’s German Culture News), creative artist and vibrant Sir Simon Rattle, the ‘On the Gradual Production of a special presentation to thinker whose multifaceted conductor of the Berlin Thoughts Whilst Speaking’ accomplishments in music, German Culture News Cornell’s Composers Fo- Philharmonic with whom Cornell University IGCS rum, a compact seminar on theater, and word arts defy he has collaborated on many 726 University Avenue Heiner Müller and Gertrude summation. This is only concert productions, as “a Ithaca, NY 14850 phone: 607.255.8408 email: [email protected] Leslie A. Adelson: Director *** Newsletter summaries of Institute-sponsored events are generously provided by graduate Olga Petrova: Editor & Designer students in various stages of doctoral study in the interdisciplinary fi eld of German Studies at Carl Gelderloos: Copy Editor, Additional Photographs Cornell University. These summaries are customarily written by students with a general audience in mind and highlight selected aspects of complex presentations by specialists. Katrina Nousek: Photographer & Student Coordinator *** real original,” Heiner Goebbels is social, and artistic cultures to ask time, Heiner Goebbels has garnered unusually gifted in thinking outside after the possibilities of artistic ex- international acclaim and many the box and actively tickling his perience today. Having composed prizes for his inspired and inspiring audience’s fancy to do the same. music for theater, fi lm, radio, ballet, creations throughout Europe, Asia, If audiences think they know what and his own art-rock band Cassiber North America, Australia, and New musical composition, theatrical in the 1980s, he has composed for Zealand. performance, and even literary and worked closely with the Ensem- Twice nominated for a Grammy— writing mean, works by this artist ble Modern for over twenty years. for Best Classical Contemporary will make them think again and be Since 1990 he has composed and Composition in 2001 and for Best very glad they did. Commentators directed his own “staged concerts” Small Ensemble Performance in most frequently reach for the German and music-theater plays, including 2004, Heiner Goebbels received the word Grenzgänger to characterize The Liberation of Prometheus and European Theatre Prize for New this musical composer and theater Ou bien le débarquement désas- Theatrical Realities in 2001, the In- director, for his at once stunning and treux (1993), The Repetition (1995), ternational Theatre Institute’s Prize invigorating work in music-theater Black on White (1996), Max Black for World Theater in 2006, the Polish does not merely “cross” borders but and Eisler-Material (1998), Hashi- Theater Critics’ prize for the “Future perambulates with curiosity instead rigaki (2000), Landscape with of Theatre” in 2007, and many other in the very fi eld of boundaries Distant Relatives (2002), Eraritja- awards far too numerous to list here. otherwise thought to hold cultures, ritjaka (2004), Stifters Dinge and Many of his compositions have been disciplines, and art forms apart. Songs of Wars I Have Seen (2007), recorded in ECM Records New Mu- Celebrated and sometimes criticized and I went to the house but did not sic series, and his book on Kompo- for opera with too little singing, enter with the Hilliard Ensemble sition als Inszenierung (Composi- theater that occasionally dispenses (2008). Many of these works en- tion as Staged Performance) was with actors (e.g., Stifters Dinge, gage not only musical and theatrical published in 2002. His perambu- a “no-man play” that had its U.S. conventions and experimentation lations at the boundaries of artistic premiere at the Lincoln Center in surprising ways, but also the lit- experience are frequently described in December 2009), or for art erary and philosophical writings of as meditations on the familiar and installations featuring live actors and fi gures such as Maurice Blanchot, the unfamiliar alike. A member of dead texts dancing together in sound Samuel Beckett, Malcolm X, Franz the Academy of the Arts in Berlin and shadow, Heiner and the Academy Goebbels is indeed of the Performing unique and yet Arts in Frankfurt, manages to speak he is also an Hon- to and perhaps even orable Fellow of move audiences the Dartington Col- around the world. lege of Arts and the President of the Central School of Theatre Academy Speech and Drama of Hesse since 2006 in London. Asked (an association of about the meaning four universities and of his artistic cre- nine theaters promot- ations, this uniquely ing education in the performing arts Kafka, Gertrude Stein, Elias Ca- accomplished speaker once replied in Germany) and Director of Ger- netti, T.S. Eliot, Adalbert Stifter, Ed- that he hopes to provide “impulses” many’s infl uential Institute for Ap- gar Allan Poe, Alain Robbe-Grillet, that will make “a shared pondering” plied Theater Studies at the Justus- and others. With Hanns Eisler as a possible. In this spirit the Institute Liebig-University of Gießen since music-theoretical muse and Heiner for German Cultural Studies and the 1999, this featured guest works at Müller as a long-time interlocutor Departments of German Studies, the boundaries of many medial, and theatrical collaborator in real- Music, and Theatre, Film & Dance remain grateful to Heiner Goeb- hybrid artistic identity, he moves Frankfurt, where it was necessary bels for his inspiring visit, and the among both disciplines’ most elite, to subordinate music to visual mise- IGCS is pleased to make the text of international circles. For instance, en-scene. Dissatisfi ed with theatre, his aesthetics lecture available in he worked with the iconic German he preferred his purely musical pur- this issue of German Culture News. playwright Heiner Müller in the late suits in experimental bands, such as Prior to the artist’s arrival, the IGCS eighties-- incidentally, Goebbels the So-Called Leftist Revolutionary was able to screen two fi lms by or credits these collaborations with Wind Orchestra and his art rock trio about Heiner Goebbels for a cam- Müller as his defi ning breakthrough- Cassiber. Of course, the excess of pus audience (Heiner Goebbels: Ein - French choreographer Mathilde these raucous sonic displays bore Komponist by Dagmar Birke and Monnier, and is a habitual headliner little resemblance to the mysterious, Schwarz auf Weiß/Black on White at festivals and theatres across the muted melancholy that characterizes by Heiner Goebbels and Manfred globe. He is also a professor and his musical theatre. Waffender with the Ensemble Mod- managing director of The Institute It is worth noting that even ern). Because we were privileged to for Applied Theatre Studies at for an experienced spectator of con- have Ryan Platt, an advanced doctor- the Justus-Liebig-Universität in temporary performance, Goebbels’ al candidate in the Dept. of Theatre, Giessen, where he has taught courses work is remarkably odd. In part, its Film & Dance, introduce the artist’s on Brecht, the aesthetics of the city, quietly quizzical character can be at- music-theater and the fi lm version sound art, and a seminar on French tributed to fundamental differences of Schwarz auf Weiß in Cornell’s novelist Alain Robbe-Grillet. with traditional theatre: a Goebbels Film Forum on Feb. 23, the IGCS is Despite the fact that Goeb- performance generally lacks spoken pleased to include Ryan Platt’s sub- bels considers himself to be “not dialogue, character development, stantive introduction, which Heiner in the center... of contemporary and plot. As in Black on White, little Goebbels cited in his aesthetics lec- music... somebody who’s between seems to happen.
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  • WDR 3 Jazz, 11. März 2015
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  • Heiner Goebbels Landschaft Mit Entfernten Verwandten Landscape with Distant Relatives Paysage Avec Parents Éloignés
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  • Programme (PDF)
    sommaire 6 Les partenaires institutionnels 7 Édito Rémy Pflimlin, président Jean-Dominique Marco, directeur 9 Éclipses dans le jardin Frank Madlener 10 L’affiche Directeur de publication Jean-Dominique Marco 12 Les compositeurs et les œuvres Rédaction Frank Madlener 15 Les trois impératifs de George Benjamin Éric Denut, musicologue Contributions Philippe Albèra, Eric Denut, Antoine Gindt, Marc Monnet, Max Noubel 19 Entretien avec Michael Jarrell Philippe Albèra, musicologue Secrétariat d’édition Camille Vier Coordination et suivi 23 Elliott Carter, portrait Mafalda Kong-Dumas Max Noubel, musicologue Conception graphique et photographies Poste 4 26 Programme détaillé Impression Ott Imprimeur 75 Les compositeurs © Musica 2005 – SACEM Licences de spectacle : 2-128734/3-125657 84 Les partenaires de Musica Crédits photographiques p. 14 et 27 Maurice Foxall / p. 17 Michiharu Okubo / p. 18, 19 et 71 Poste 4 / p. 22 et 51 Kathy Chapman / p. 24 Meredith Heuer / p. 27 Philippe Gontier / p. 28 Allison Jane Reed, DR, Carole Parodi, Mirjam Devriendt / p. 29 Mitch Jenkins / Warner Classics / p. 31 Marthe Lemelle, 92 Les actions pédagogiques Aymeric Warme-Janville / p. 32 DR / p. 33 Kass Kara photographers / p. 35 Pascal Bastien, Telemach Wiesinger (Bildkultur) / p. 36 Damien Guesnier, Instant Pluriel / p. 37 Lisa Rastl / p. 38 Olivier Roller / p. 40 Guillaume Jégou / p. 42 et 45 Guy Vivien / p. 43 Hanno Karttunen / 93 p. 46 Accroche Note, Guy Vivien / p. 47 DR / p. 48 Helge-Christoph L’équipe Borgelt, DR, Isabelle Vigier / Ben Van Duyi / p. 49 Tony Hutching / p. 51 Thomas Dashuber, Konzertgesellschaft / p. 53 DR / p. 54 Jean-Claude Dorn / p.
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