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TCPM 2015-MEF Abstracts TCPM 2015 Abstracts / Résumés Thomas Ahrend. Versions, Variants, and the Performatives of the Score: Traces of Performances in the Texts of Anton Webern’s Music Thomas Ahrend is member of the editorial staff of the Anton Webern Gesamtausgabe at the Musikwissenschaftliches Seminar of the University of Basel. He has mainly published on 20th and 21th century music. Contact : [email protected] Most research on the creative process of Anton Webern’s music has focused on the sketches, thus emphasizing the compositional process in the narrower sense. Less attention has been paid to the fact that especially for most of the works composed between 1908 and 1915 (esp. opp. 3–12) there exists a number of versions (appearing as fair copies rather than sketches) that may show traces of a feedback coming from rehearsals or performances which have occurred before the first printing of the compositions. (A remarkable exception is of course Felix Meyer / Anne Shreffler: “Performance and Revision: the Early History of Webern’s Four Pieces for Violin and Piano, Op. 7”, in: Webern Studies, ed. Kathryn Bailey, Cambridge: Cambridge University Press, 1996, pp. 135–69.) But even in the case of later works (esp. opp. 27, 28, 30) annotations may be found in the sketches or other sources that hint at a relation to possible (future) performances. These noticeable revisions in the sources raise several questions concerning both the edition of these versions (as presently undertaken by the Anton Webern Complete Edition in Basel, Switzerland) and the conceptual approach to the relation between musical texts and performances. Some of these questions are: – How do we distinguish the (various) layers of ‘pure’ compositional revisions from the inscriptions that were undertaken during rehearsals? And if we can: How do we evaluate the two sorts of revisions within the context of textual criticism? – How do we (on the basis of possible answers to the first question) distinguish between different versions? In other words, which inscriptions are merely variants inherent to a particular version and which constitute different versions? – To what extent can the thus defined (different) versions (and/or variants) be edited and/or performed differently, i. e. without mixing the different versions (and/or variants) which might result in a new yet possibly never intended, at least from the composer perspective, text and/or performance? – To what extent is it possible to reconstruct particular performances of the music with the help of these traces of past rehearsals present in the sources? – Do performances ‘create’ new texts of a work if they differ from the written texts they refer to? The aim of this paper is to suggest possible answers to these and similar questions relying on the concept of a ‘virtual text’, a concept which refers to the notion of ‘virtuality’ as discussed by Gilles Deleuze [see esp. his Différence et répétition, Presses Universitaires de France, Paris, 1968] and other philosophers. This notion of a ‘virtual text’ will be developed in the paper and should be open to discussion. Moreover, a critical discussion of the concept of ‘the performative’ (as proposed by Erika Fischer-Lichte [see her Ästhetik des Performativen, Frankfurt am Main: Suhrkamp, 2004] and others) might contribute to a better understanding of the possible and complex relationships between musical texts and performances: aspects of performatives can be observed in both, texts and performances. The suggested methodology is both philological and analytical, thereby implying that the objects of research are ‘texts’ (both written and audio) that have to be constituted from a critical comparison of the differences they have to other texts. The goal is to demonstrate 3 some kind of coherent connection of the observed differences (that is to say: ‘sense’, or significance). The written texts to be investigated contain all the known Webern sources (manuscripts and prints) – collected as digital copies at the Anton Webern Complete Edition in Basel, with further examination of some originals (of which the major part is held at the Paul Sacher Foundation in Basel). The audio texts to be explored are selected recordings both commercially available and especially produced for the present research project (in cooperation with musicians from Basel Academy of Music / School of Music). Neil BOYNTON, “Anton Webern, Variationen op. 27: Gegenüberstellung der Handexemplare von Else Cross und Peter Stadlen”, in: Die Lehre von der musikalischen Aufführung in der Wiener Schule […], ed. Markus Grassl and Reinhard Kapp, Wien: Böhlau, 2002 (Wiener Veröffentlichungen zur Musikgeschichte 3), pp. 101–111. Regina BUSCH / Reinhard KAPP, “Tempofragen bei Anton Webern mit der Vorführung zweier von Rudolf Kolisch einstudierter Aufnahmen”, in: Der Grad der Bewegung. Tempovorstellungen und -konzepte in Komposition und Interpretation 1900–1950, ed. Jean- Jacques Dünki et al., Bern 1998 (Basler Studien zur Musik in Theorie und Praxis 1), pp. 185– 201. Robert H. HALLIS, Reevaluating the Compositional Process of Anton Webern: 1910–1925, Diss., The University of Texas at Austin, 2004. Felix MEYER, “Anton Webern und der Verein für musikalische Privataufführungen: Notizen zur ‘Kammerfassung’ der Sechs Stücke für grosses Orchester op. 6”, in: Musik denken. Ernst Lichtenhahn zur Emeritierung, ed. Antonio Baldassare et. al., Bern 200, pp. 203–218. Dominik SCHWEIGER, “Weberns verworfene Mikrotöne”, in: Mitteilungen der Paul Sacher Stiftung 11 (1998), pp. 10–16. Anne C. SHREFFLER, “Traces Left Behind. Webern’s Musical Nachlass and Compositional Process”, in: Settling New Scores, ed. Felix Meyer, Mainz 1998, pp. 103–106. 4 Giacomo Albert. E-sketch analysis: Marco Stroppa’s Chroma between late ‘80s and early ‘90s Giacomo Albert is postdoctoral researcher at CIRMA–University of Torino. He recently held research fellowships from University of Torino, Paul Sacher Stiftung and Fondazione Giorgio Cini. His main fields of studies are the music of the 20th and 21st centuries, sound art, sound installations, film music and video art. Contact: [email protected] This paper aims at deepening the relationship between digital technology from the one side and compositional thought and techniques from the other, focusing on Marco Stroppa’s music of the late 1980s and early 1990s. This relationship will be investigated through the analysis of both the compositional techniques, and the computer aided compositional tools, that Marco Stroppa developed during the creation of Traiettoria and Proemio. By this way, a correlation between the architecture of the programs and the dramaturgic and musical structures of the works will be stressed. During his career Marco Stroppa developed many Computer Aided Compositional (CAC) tools, also thanks to the help of IRCAM’s assistants as Serge Lemouton. Many of these programs have been collected in a package, engendering a programming environment: Chroma – OmChroma (partially made public as Open Music’s library). Chroma’s evolution paralleled the variations and the development of Stroppa’s compositional thought and techniques. During the late ‘80s and early ‘90s the composer ported both Traiettoria’s (1982-84; rev. 1988) sound synthesis programs and Spirali’s (1987- 88) “Vertical Pitch Structures” (VPS) – a chord managing method based on constraint programming –, from Fortran’s based Music V, to LeLisp (and to Common Lisp immediately afterwards), giving rise to Chroma. Once these programs have been joined into a single environment, the composer developed them further, and employed them for the composition of Proemio (1990-91), a radio opera based on a text written by Adolfo Moriconi. In the paper, I will study this transition, analysing both the programming environment and the compositional techniques, i.e., from the one side Chroma and from the other side the most important Traiettoria’s and Proemio’s music structures. In order to better understand the connection between technology and compositional thought and techniques, I will compare Proemio’s computer aided sound synthesis programs to Traiettoria’s. In particular, I will focus my attention on the third section (from 7’57” to 11’10”) of the second movement/module of Traiettoria’s score, and on Proemio’s episode devoted to the “character” Maria Goretti. Looking at both the architecture of the programs and the way they have been employed during the compositional process, and, from the other side, looking at the music structures, it will be possible to stress that the different programs mirror the difference between a processual, developing conception of form in Traiettoria (based on the conception of the superposition and juxtaposition of multifarious developing “OIMs”), and a static structure in Proemio, a kind of formal organisation well-suited for depicting characters (based on the idea of “sonic potentials”). Highlighting the use of different programs in relation to different sections of the work, I will theorize a connection among the architecture of the programs and the dramaturgic and musical structures of the works. Both Traiettoria and Proemio have been investigated by many researchers; thus, many features of the two works and of their creative process have already been analysed and developed. In particular, Traiettoria’s compositional process has been studied by Stefano Marcato – both in his MA dissertation and in a later article –, by myself in my MA dissertation, and by Noémie Sprenger-Ohana and Vincent Tiffon in four recent articles; Giordano
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