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HOLLAND FESTIVAL 2019 HOLLAND FESTIVAL HOLLAND FESTIVAL 2019 Met dank aan SUBSIDIËNTEN PARTNERS PRODUCTIEPARTNER HOOFDBEGUNSTIGER SPONSORS, FONDSEN, INSTELLINGEN FESTIVALLOCATIES MEDIAPARTNERS HF BUSINESS 2 LOS INCONTADOS: UN TRíPTICO © Mauricio Esguerra 3 4 CRASH PARk – LA VIE D’UNE îLE © Martin Argyroglo 5 INHOUD Opera & muziektheater Theater Theatre De zes Brandenburgse Opera & music theatre Concerten p 70 Los Incontados: un tríptico p 52 Anne Teresa De Keersmaeker, Amandine The Head & The Load p 33 Mapa Teatro Beyer, Rosas, B’Rock Orchestra Inleiding William Kentridge, Philip Miller, Kunst verandert p 10 Thuthuka Sibisi, Gregory Maqoma Sur les traces de Dinozord p 62 Vehicle p 91 Faustin Linyekula, Studios Kabako Gerhard Marx, Shane Cooper Interview aus LICHT p 40 William Kentridge & Faustin deel 1: Michael p 43 Crash Park - La vie d’une île p 72 Not Another Diva ... p 120 Linyekula p 14 deel 2: Lucifer en Eva p 44 Philippe Quesne Hlengiwe Lushaba, Faustin Linyekula, deel 3: Samenwerken en het openen van de Studios Kabako HF Young p 20 ruimte p 46 Piki Piki p 85 Karlheinz Stockhausen, Holland Festival, De Djino Alolo Sabin, Studios Kabako Chronicle of Current Events p 122 CJP p 22 Nationale Opera, Koninklijk Conservatorium Mieczysław Weinberg, Kirill Serebrennikov, Den Haag, Stockhausen-Stiftung für Musik Antony and Cleopatra p 86 Gidon Kremer, Kremerata Baltica Geen tempel, geen drempel p 23 Tiago Rodrigues, Teatro Nacional D. Maria II Pelléas et Mélisande p 68 Le jeune noir à l’epée p 132 Meet the artist p 25 Claude Debussy, De Nationale Opera Congo p 108 Abd Al Malik Faustin Linyekula Programma Holland Festival 2019 Defence of the Less Good Idea / Actress x Stockhausen Sin {x} II p 26 – 159 Blind Mass Orchestra / Requiem The Scarlet Letter p 125 p 138 Request p 92 Angélica Liddell, Atra Bilis Teatro Actress, Nederlands Kamerkoor Frascati-programma William Kentridge, João Renato Orecchia associate artists p 80 – 113 Zúñiga, Gregory Maqoma, Nhlanhla Mahlangu Roughhouse p 129 Partita for 8 Voices p 142 Richard Siegal / Ballet of Difference & Ensemble Roomful of Teeth Profielen Enyangeni / Ursonate p 94 Schauspiel Köln Karlheinz Stockhausen p 34 William Kentridge, Nhlanhla Mahlangu Paper Music p 145 Faustin Linyekula p 74 De kersentuin p 130 William Kentridge, Philip Miller William Kentridge p 114 Not Another Diva ... p 120 Simon McBurney, Internationaal Theater Hlengiwe Lushaba, Faustin Linyekula, Amsterdam Triptych (Eyes of One on Educatie p 51, 161 Studios Kabako Another) p 148 Advertenties p 162 Paisajes para no colorear p 140 Bryce Dessner, Daniel Fish, Korde Arrington Tickets & info p 176 Mitra p 126 Marco Layera Tuttle, Roomful of Teeth, Asko|Schönberg TV & radio p 178 Jorge León, Eva Reiter, George van Dam, Locaties p 179 Claron McFadden Proces p 152 Electro Symphonic Orchestra Vrienden p 181 Krystian Lupa, Nowy Teatr p 158 Nalaten aan het Holland Festival p 183 Opera in het park: Pelléas et Colin Benders Holland Festival bedankt p 184 Mélisande p 146 Trefwoorden p 186 Claude Debussy, De Nationale Opera Muziek Music Organisatie & colofon p 190 Dans Dance Festivalschema p 192 Triptych (Eyes of One on Another) Eight p 64 p 148 Michel van der Aa Sur les traces de Dinozord p 62 Bryce Dessner, Daniel Fish, Korde Arrington Faustin Linyekula, Studios Kabako Tuttle, Roomful of Teeth, Asko|Schönberg Turan Dokht p 66 Aftab Darvishi, Miranda Lakerveld, De zes Brandenburgse Nilper Orchestra Concerten p 70 Anne Teresa De Keersmaeker, Amandine 6 Beyer, Rosas, B’Rock Orchestra 7 Piki Piki p 85 Beeldende kunst Visual arts Chronicle of Current Events p 122 Online & live Online & live Djino Alolo Sabin, Studios Kabako Mieczysław Weinberg, Kirill Serebrennikov, Landloos p 112 William Kentridge – Ten Drawings Gidon Kremer, Kremerata Baltica Antony and Cleopatra p 86 for Projection p 58 Gesprek Discussion Tiago Rodrigues, Teatro Nacional D. Maria II William Kentridge Paper Music p 145 Verzwegen verhalen p 134 William Kentridge, Philip Miller William Kentridge Enyangeni / Ursonate p 94 Installatie Installation William Kentridge, Nhlanhla Mahlangu The Invisible Exhibition p 89 Gesprek Discussion William Kentridge Context Context William Kentridge en Walid Raad Beautiful Me p 102 p 135 Gregory Maqoma, Vuyani Dance Theatre Installatie Installation HF Young Academy Vehicle p 91 The Dark Edition p 28 Expositie Exhibition La danse de la rue 19 p 105 Gerhard Marx, Shane Cooper Eyes on Robert p 150 Jeannot Kumbonyeki Gesprek Discussion Triptych (Eyes of One on Weerkeren p 29 Subbacultcha x Holland Festival Roughhouse p 129 Another) p 148 Club Night p 151 Richard Siegal / Ballet of Difference & Ensemble Bryce Dessner, Daniel Fish, Korde Arrington Installatie & film Installation & film Schauspiel Köln Tuttle, Roomful of Teeth, Asko|Schönberg De droom van Stockhausen p 49 Listening party Eddy De Clercq Frank Scheffer p 157 Van Manen, Forsythe, Arqués p 137 Het Nationale Ballet Performance Performance Gesprek Discussion Johannesburg: city of 1000 faces Video Video Cion; Requiem of Ravel’s Bolero Defence of the Less Good Idea / p 54 p 154 Blind Mass Orchestra / Requiem Triptych (Eyes of One on Another) Gregory Maqoma, Vuyani Dance Theatre Request p 92 Gesprek Discussion p 148 William Kentridge, João Renato Orecchia Hamid Dabashi – Persian Culture on Bryce Dessner, Daniel Fish, Korde Arrington Zúñiga, Gregory Maqoma, Nhlanhla Mahlangu the Global Scene p 55 Tuttle, Roomful of Teeth, Asko|Schönberg Multidisciplinair Multidiscipline Gesprek Discussion Film Film William Kentridge & Faustin Gratis Free entrance Parlement debout p 56 Linyekula p 60 Faustin Linyekula Film op zondag p 26 Parlement debout p 56 Tsjelovek s kinoapparatom p 27 Literatuur Literature Faustin Linyekula Sur les traces de Dinozord p 62 Touki Bouki p 27 Boekentafel p 96 Faustin Linyekula, Studios Kabako Qu’Allah bénisse la France p 27 Installatie Installation Rondleiding Guided tour The Invisible Exhibition p 89 Congo p 108 Installatie & film Installation & film Black Heritage tour p 97 William Kentridge Faustin Linyekula De droom van Stockhausen p 49 Frank Scheffer The Welcome Table p 98 Installatie Installation Négritude p 100 Vehicle p 91 Multimedia Multimedia William Kentridge – Ten Drawings for Identiteit p 101 Gerhard Marx, Shane Cooper Projection p 58 Verzet p 106 Eight p 64 William Kentridge Collectif Faire-Part p 107 Opera in het park: Pelléas et Michel van der Aa Post-Colonial Body p 110 Mélisande p 146 Mitra p 126 One World in Relation p 111 Claude Debussy, De Nationale Opera Jorge León, Eva Reiter, George van Dam, Afropean p 156 Claron McFadden Listening party Eddy De Clercq 8 p 157 9 zelf, maar ook kijken we met hen naar kunste- naars met wie zij zich artistiek verwant voelen, en naar inspiratiebronnen, thema’s en ambities. De associate artists voor 2019 zijn de Zuid- Afrikaanse kunstenaar William Kentridge en choreograaf en storyteller Faustin Linyekula uit de Democratische Republiek Congo. William Kentridge en Faustin Linyekula Als openingsvoorstelling presenteren we dit © Jochem Sanders jaar Kentridges nieuwe muziektheaterproduc- tie The Head & The Load. Hierin neemt hij het artistically related to, and their sources of inspi- verzwegen of verdrongen verhaal onder de ration, themes and ambitions. The associate loep van de honderdduizenden Afrikanen die artists in 2019 are South African artist William in de Eerste Wereldoorlog meegevochten heb- Kentridge and Congolese choreographer and ben. Daarnaast tonen we het ‘ciné- concert’ storyteller Faustin Linyekula. Paper Music en Kentridges interpretatie van de Ursonate van Kurt Schwitters. In al deze pro- William Kentridge and Faustin ducties komen de kenmerkende animaties Linyekula terug waarmee hij grote bekendheid ver- We are presenting Kentridge’s new music thea- gaarde. Meer van deze animaties zijn ook te tre production The Head & The Load, this year’s zien in Eye Filmmuseum, in de tentoonstelling opening performance. In it he takes a closer William Kentridge – Ten Drawings for Projection. look at the concealed or suppressed story of the Kunst verandert Art changes Linyekula maakte Not Another Diva ..., een hundreds of thousands of Africans who fought concert met drie sterke vrouwelijke perfor- in the First World War. We are also staging the De wereld verandert, sneller dan ooit lijkt het The world is changing, faster than ever it some- mers. Ook is zijn multidisciplinaire Sur les traces ‘ciné-concert’ Paper Music and Kentridges soms wel, en kunst verandert mee. Die vernieu- times seems, and art is changing with it. Showing de Dinozord te zien, waarin vormaspecten en interpretation of Kurt Schwitters’s Ursonate. All wing in inhoud en vorm tonen doet het Holland this renewal in terms of narrative and form is belangrijke thema’s uit zijn oeuvre bij elkaar these productions contain the characteristic Festival al sinds de oprichting in 1947. what the Holland Festival has been doing since it komen. Nieuw is Congo, een ode aan Linyekula’s animations with which he came to great fame. Minstens even belangrijk als die vernieuwing was founded in 1947. geboorteland. These animations can also be seen at Eye Film van de kunst zelf is dat kunst ook iets kan veran- At least as important as the renewal of art is Integraal onderdeel van werken met associate Museum, at the exhibition William Kentridge – deren in de toeschouwers. We zoeken voor het that art can also change something in the audi- artists is ook dat we kijken naar artistieke ver- Ten Drawings for Projection. Linyekula made festival werk dat zo’n ervaring teweegbrengt, ence. We look for work that evokes such an wantschappen. Een voorbeeld is regisseur Tiago Not Another Diva ..., a concert with three strong dat ontroert, verrast of uitdaagt. We zoeken experience, that moves, surprises or challenges Rodrigues, die als artistiek directeur van Teatro female performers. His multidisciplinary work voorstellingen die ons iets zeggen over hoe us. We look for work that tells us something Nacional D. Maria II in Lissabon in 2016 Linyekula Sur les traces de Dinozord is also being staged; we nu leven, die uitnodigen tot nadenken.
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    Tuning in and Dropping out: The Disturbance of the Dutch Premiere of Stockhausen's "Stimmung" Author(s): Robert Adlington Source: Music & Letters, Vol. 90, No. 1 (Feb., 2009), pp. 94-112 Published by: Oxford University Press Stable URL: https://www.jstor.org/stable/20532864 Accessed: 03-09-2018 01:11 UTC REFERENCES Linked references are available on JSTOR for this article: https://www.jstor.org/stable/20532864?seq=1&cid=pdf-reference#references_tab_contents You may need to log in to JSTOR to access the linked references. JSTOR is a not-for-profit service that helps scholars, researchers, and students discover, use, and build upon a wide range of content in a trusted digital archive. We use information technology and tools to increase productivity and facilitate new forms of scholarship. For more information about JSTOR, please contact [email protected]. Your use of the JSTOR archive indicates your acceptance of the Terms & Conditions of Use, available at https://about.jstor.org/terms Oxford University Press is collaborating with JSTOR to digitize, preserve and extend access to Music & Letters This content downloaded from 129.74.250.206 on Mon, 03 Sep 2018 01:11:26 UTC All use subject to https://about.jstor.org/terms Music & Letters,Vo\. 90 No. 1, ? The Author (2009). Published by Oxford University Press. All rights reserved. doi:10.1093/ml/gcn084, available online at www.ml.oxfordjournals.org TUNING IN AND DROPPING OUT: THE DISTURBANCE OF THE DUTCH PREMIERE OF STOCKHAUSEN'S STIMMUNG By Robert Adlington* The greatest "scandal" in the eighty-year history of this temple of the muses': so wrote the weekly newspaper Vrij Nederland about the events that unfolded at the Amsterdam Concertgebouw on the evening of 22 June 1969.
  • Deutsch Stockhausen Werverz

    Deutsch Stockhausen Werverz

    KURZBIOGRAPHIE Karlheinz Stockhausen 1928 Geboren am Mittwoch, den 22. August in Mödrath bei Köln. 1947 – 51 Studium in Köln an der Staatlichen Hochschule für Musik (Klavier, Schulmusik) und Universität (Germanistik, Philosophie, Musikwissenschaft). Seit 1950 Erste Kompositionen und Aufführungen eigener Werke. (In folgender Aufzählung werden nur einige der 376 Werke und Uraufführungen genannt.) 1951 Serielle Musik: KREUZSPIEL, FORMEL usw. Vermählung mit Doris Andreae; aus der Ehe gingen 4 Kinder hervor: Suja (1953), Christel (1956), Markus (1957), Majella (1961). 1952 Punktuelle Musik: SPIEL, KLAVIERSTÜCKE, SCHLAGTRIO, PUNKTE, KONTRA-PUNKTE usw. Kurse für Rhythmik und Ästhetik bei Olivier Messiaen in Paris; Experimente in der Gruppe ‘musique concrète’ des französischen Rundfunks, Paris, und Realisation einer ETUDE (Konkrete Musik). Erste Synthese von Klangspektren mit elektronischen Sinus-Tönen. Seit 1953 ständiger Mitarbeiter im Studio für Elektronische Musik des WDR Köln (1963 – 1977 künstlerischer Leiter, bis 1990 künstlerischer Berater); Dozent der jährlichen Internationalen Ferienkurse für Neue Musik in Darmstadt von 1953 bis 1974 und 1996. Erste Kompositionen Elektronischer Musik: Elektronische STUDIEN I und II, GESANG DER JÜNG- LINGE (Beginn der Raum-Musik und der Aleatorischen Musik). 1954 – 56 Parallel zur Forschung und Komposition im WDR Studio für Elektronische Musik Studium der Phonetik und Kommunikationsforschung bei Werner Meyer-Eppler an der Universität Bonn. 1954 – 59 Mitherausgeber der Schriften über serielle Musik » die Reihe«, Universal Edition (Wien). 1956 Uraufführungen von ZEITMASZE in Paris und GESANG DER JÜNGLINGE in Köln. 1957 Uraufführung KLAVIERSTÜCK XI (Variable Musik) in New York. 1958 Experimente neuer elektronischer Klangsynthesen und Raumprojektionen für KONTAKTE. 32 ‘concert-lectures’ an amerikanischen Universitäten; seitdem re gelmäßig längere Tourneen als Dirigent und Interpret eigener Werke (seit 1959 mit kleineren Solisten-Gruppen).
  • English Music”: Contributors’ Notes

    English Music”: Contributors’ Notes

    LMJ 11 CD COMPANION Not Necessarily “English Music”: Contributors’ Notes WIND FLUTES URBAN (1975) Cambridge. The group approach centered around live elec- Sound sculptures constructed by Max Eastley tronic treatment of instruments, with tape and amplification Note by Max Eastley, c/o David Toop, 7 Topsfield Road, Lon- also playing important roles. Their work covered the com- don N8 8SN, U.K. plete range of notated and improvised music. Inter- modulation performed regularly throughout Britain, in- In July 1975 I made a set of three Aeolian flutes. I had not cluding three performances at the BBC Proms (1970, 1971 heard them sounding, as there was little or no wind on the and 1974) and an Arts Council Contemporary Music Net- day they were finished. work Tour in 1975. However, I remembered that the Aeolian harp can be fitted They also worked with Stockhausen, for example as part of into a sashcord window by closing the window to just above Sternklang, which they recorded under the composer’s direc- the strings and allowing a draught to be created by opening tion. The group’s final concert was in February 1976. other windows in the house. My studio had such a window, so Further information and discussion of Intermodulation’s I arranged the flutes in a similar way and waited. Night came work may be found in Tim Souster, “Intermodulation: A and everything was hot and still. Short History,” Contact 17 (Summer 1977) pp. 3–6; and At that time my studio was in the house where I lived. The Simon Emmerson, “Live Electronic Music in Britain: Three bedroom was across the landing.
  • Course Brochure 2022 English

    Course Brochure 2022 English

    Nine Concerts: July 9 th to 17 th 2022 Wednesday, July 13 th , 8 p.m., Sülztalhalle Courses Stock hau sen Concerts Faculty and works which will be taught in master Sound projection (Instructors: Kathinka Pasveer, sound th Saturday, July 9 , 5 p.m. KLANG 4th Hour: HEAVEN’S DOOR classes projectionist; Reinhard Klose, sound engineer) for a percussionist and a child In the context of the daily rehearsals and concerts with and Courses Kürten 202 2 opening Suzanne Stephens (clarinet, basset-horn, bass clarinet) Festive of the courses at the and Stockhausen’s closest technical collaborators, anyone who and Kathinka Pasveer (flute, alto flute, piccolo) Karlheinz-Stockhausen-Platz . MICHAEL’S CALL st is interested in learning more about the sound projection from July 9 th to 17 th 1 participants’ concert will be teach ing all Stock hau sen works com posed for their in performances of Stockhausens electronic, vocal and for 4 trumpets will open and close the ceremony respec tive instru ments. Thursday, July 14 th , 8 p.m., Sülztalhalle instrumental works can experience, first-hand, which “Sometimes music vibrates beyond the clouds, and we can Marco Blaauw (trumpet, piccolo trumpet, flugelhorn): aspects must be addressed and how they are can be solved no longer hear its echo. Very rarely is it truly infinite; then ARIES, TIERKREIS, IN FREUNDSCHAFT, DONNERSTAGS- from the sound engineering point of view. it makes us forget the Earth. The great masters sense that Saturday, July 9 th , 8 p.m. , Sülztalhalle HALT (of THURSDAY from LIGHT) GRUSS, MICHAELS-RUF, MICHAELs REISE UM DIE ERDE, HALT, In addition to the daily concerts, open rehearsals, master they have one last thing to say, and that life is coming to an for trumpet and double bass MISSION und HIMMELFAHRT, VISION, OBERLIPPENTANZ, SIRIUS (Summer Version ) PIETÀ, TRUMPETENT, MICHAELION, BASSETSU-TRIO, QUITT, classes, and concert introductions, there will be seminars, end –.