hans joachim koellreutter the musical revolutions of a Zen master

emanuel dimas de melo pimenta Hans Joachim Koellreutter the musical revolutions of a Zen master emanuel dimas de melo pimenta

2010 first edition, 2010 www.emanuelpimenta.net www.asa-art.com

All Rights Reserved. No text, picture, image or part of this publication may be used for commercial purposes or related to any commercial use, by any means, electronic or mechanical, including photocopy, any kind of print, recording or any other information storage and retrieval system, without prior permission in writing from the publisher. In case of permitted use, the name of the author, artist or photographer must be always included. Philosophy is not a gala dinner, neither a guide to good manners or an antidepressant panacea. Philosophy is a battle, a face-to-face with our intimate and ultimate challenges: the sake of truth and of lie, the morality test, the fire of love, the challenge to survive. In the ring, two heavyweight of thought: Socrates, the inventor of a Western and up- rooting wisdom (…) Heidegger, philosopher and nazi, and paradoxi- cally revered in all universities all over the world, died in his bed. Two ways to exist and to think, two irreconcilable commitments.

André Glucksmann

in memory of Roti Nielba Turin Introduction 5 Oswad de Andrade’s Manifest 7 1 38 2 76 3 110 4 141 5 170 6 214 7 239 8 262 9 298 10 321 11 341 12 378 13 405 14 426 15 459 16 482 17 524 Aesthetics 541 20th Century Music 593 Brief Bibliography 617 Index of names 619 Brief biography of the author 625 copyrights 629 I was barely twenty years old when I began studying with Hans Joachim Koellreutter. Quickly we became friends for life.

In 1983 I promised him that I would write a book about his life – but it only should be made after his death, he obliged me to promise.

Five years ago, Koellreutter disappeared. This year of 2010 he would be ninety-five years old.

This book starts with a manifesto by the great Brazilian writer and thinker Oswald de Andrade, which, although written ten years before Koellreutter’s arrival in Brazil, illustrates the intellectual environment that fascinated him. It ends with a thought of the Swiss philosopher René Berger, wrote in the early twentieth first century. Nearly a century separates the two thoughts. Then there are two of his courses annotated by me in 1981 – Introduction to Aesthetics and Panorama of the Twentieth Century Music. Those courses were structured on thoughts, punctual elements, which triggered debate and reflection. Thus, it is not a descriptive and linear text.

This book is dedicated to the memory of Roti Nielba Turin, genial master, important personage in the semiotic world and beyond, my teacher and of many more, combated by her peers, she also is always unforgettable.

This is a book written from notes and memory. So, it also happens in leaps. It is just a small gesture of love to a great and unforgettable teacher and friend.

Emanuel Dimas de Melo Pimenta New York 2010 Oswald de Andrade Anthropophagic Manifest 1928

Only anthropophagy unites us. Socially. Economically. Philosophically.

The unique law of the world. Masked expression of all individualisms, of all collectivisms. Of all religions. Of all peace treaties.

Tupi, or not Tupi that is the question.

Against all catechizations. And against the mother of the Gracchi.

I am only interested in what is not mine. Law of human. Law of the anthropophagus. We are tired of all the suspicious Catholic husbands put in drama. Freud finished off the woman-enigma and other dreads of printed psychology.

What trampled over truth was the cloth, the impermeable between the inner and the outer world. Reaction against the dressed human. American movie will inform.

Children of the sun, mother of the living. Fiercely met and loved, with all the hypocrisy of nostalgia, by immigrated, slaves and tourists. In the country of the big snake*.

That is because we never had grammars or collections of old vegetable. And we never knew what was urban, suburban, frontier and continental. Lazy people on the world map of Brazil. A participating consciousness, a religious rhythmic.

Against all importers of canned consciousness. The palpable existence of life. And the study of pre-logical mentality left to Mr. Levy-Bruhl study.

We want the Carahiba revolution. Bigger than the French Revolution. The unification of all effective revolts toward human. Without us, Europe would not even have its poor human rights declaration.

The golden age announced by America. The golden age. And all the girls.[2]

Filiation. The contact with Carahiban Brazil. Oú Villegaignon print terre. Montaigne. The natural human. Rousseau. From the French Revolution to Romanticism, to the Bolshevist Revolution, to the Surrealist Revolution and to the Keyserling’s technicized barbarian. We walk on. We were never catechized. We live through a somnambular Law. We made Christ born in Bahia. Or in Belém do Pará.

But we never admitted the birth of logic among us.

Against Father Vieira. Who made our first loan, for a fee. The illiterate king had told him: put this on paper, but be not too crafty. So the loan was made. Brazilian sugar was taxed. Vieira left the money in Portugal and brought us craftiness.

The spirit refuses to conceive spirit without body. Anthropomorphism. The necessity of an anthropophagic vaccine. For the balance against meridian religions. And exterior inquisitions.

We can only attend to the auracular world. We had justice as codification of vengeance. Science as codification of Magic. Anthropophagy. The permanent transformation of Taboo into totem.

Against the reversible world and objectified ideas. Deadened ideas. The stop of thought when it is dynamic. The individual victim of the system. Source of classical injustices. Of romantic injustices. And the oblivion of inner conquests.

Scripts. Scripts. Scripts. Scripts. Scripts. Scripts. Scripts.

The Carahiban instinct.

Death and life of hypotheses. From the I-equation as part of the Kosmos to the Kosmos-axiom as part of the self. Subsistence. Knowledge. Anthropophagy. Against plantlike elites. In communication with the soil.

We were never catechized. We made Carnival instead. The Indian dressed up as senator of the Empire. Pretending to be Pitt. Or featuring in Alencar’s operas full of good Portuguese feelings.

We already had communism. We already had the surrealist language. The golden age.

Catiti Catiti.

Imara Notiá.

Notiá Imara.

Ipejú. Magic and life. We had the roster and the distribution of physical goods, of moral goods, of dignity goods. And we knew how to transpose mystery and death with the aid of some grammatical forms.

I asked a man what Law was. He answered it was the assurance of the exercise of possibility. That man was called Galli Matias. I ate him.

There is no determinism only where there is mystery. But what do we have to do with that?

Against the stories of the human that start at Cape Finisterre. The undated world. The non-rubricated world. Without Napoleon. Without Caesar.

The fixation of progress by means of catalogues and television sets. Only machinery. And blood transfusers. Against antagonistic sublimations. Brought over in caravels.

Against the truth of the missionary peoples, defined by the sagacity of an anthropophagous, the Viscount of Cairu: – It is a lie repeated over and over.

But who came were not crusaders. There were fugitives from a civilization we are eating up, because we are as strong and as vengeful as the land turtle.

If God is the consciousness of the Uncreated Universe, Guaraci is the mother of the living. Jaci is the mother of plants.

We had no speculation. But we had divination. We had Politics that is the science of distribution. And a planetary- social system. Migrations. The escape from boring states. Against urban scleroses. Against Conservatories, and speculative boredom.

From William James to Voronoff. The transfiguration of Taboo into totem. Anthropophagy.

The paterfamilias and the creation of the Stork Fable: Actual ignorance of things + lack of imagination + authoritative feeling before the curious progeny. It is necessary to start from a profound atheism in order to arrive at the idea of God. But the Carahiba did not need. Because they had Guaraci.

The created objective reacts like the Fallen Angels. Then Moses divagates. What do we have to do with that?

Before the Portuguese had discovered Brazil, Brazil had discovered happiness. Against the torch-bearing Indian. The Indian son to Mary, godson to Catherine de Medicis and son-in-law to Don Antonio de Mariz.

Joy is the acid test.

In the matriarchy of Pindorama.

Against Memory as source of the habit. The renewed personal experience.

We are concretists. Ideas take hold, react, burn people in public squares. Let us suppress ideas and other paralyses. For scripts. To believe in signs, to believe in instruments and stars.

Against Goethe, the mother of the Gracchi, and the Court of Don John VI. Joy is the acid test.

The struggle between what one might call Uncreated and the Creature – illustrated by the permanent contradiction of human and his Taboo. The quotidian love and the capitalist modus vivendi. Anthropophagy. Absorption of the sacred enemy. To transform him into totem. The human adventure. The earthly finality. However, only pure elites managed to realize carnal anthropophagy, which carries in itself the highest meaning of life and avoids all the ills identified by Freud, the ills of catechism. What happens is not a sublimation of sexual instinct. It is the thermometric scale of anthropophagic instinct. Once carnal, it turns elective and creates friendship. If affective, love. If speculative, science. It deviates, it transfers itself. We reach vilification. Low anthropophagy agglomerated into the sins of catechism – envy, usury, calumny, murder. Plague of the so-called cultured and Christianized peoples, it is against it we are acting. Anthropophagi. Against Anchieta singing the eleven thousand virgins of heaven, in Iracema’s land – the patriarch João Ramalho founder of São Paulo.

Our independence was not proclaimed yet. Typical phrase of Don John VI: – Son, put the crown on thy head before some adventurer doeth it! We expelled dynasty. It is necessary to expel the Braganza spirit, the rule and the snuff of Maria da Fonte.

Against the clothed and oppressive social reality, recorded by Freud – reality without complexes, without madness, without prostitutions, and without the penitentiaries of the matriarchy of Pindorama.

OSWALD DE ANDRADE In Piratininga. Year 374 of the Swallowing of Bishop Sardinha. In: Revista de Antropofagia [Journal of Anthropophagy], São Paulo, 1, May 1928. Based on the English translation by Maria do Carmo Zanini in 2006

* Tupi is an extinct language, spoken by the Tupinamba people, which was one of the main ethnic groups of Brazilian indigenous people. Scholars believe they first settled in the Amazon rainforest, but 2,900 years ago they started to spread southward and gradually occupied the Atlantic coast.

Carahiba - From Tupi “Kara ‘ib” (wise, clever), is the name of two small trees, Cordia calocephala and C. insignis from the family Boraginaceae tuberous, that produces small yellow flowers and is also known as For Everything.

Catiti – in the Tupi teogonia it is the New Moon, and also the emergence of love.

Catiti Catiti. Imara Notiá. Notiá Imara. Ipejú, in Tupi, could be translated as “New Moon, New Moon! Blow on him rememberings about me”.

Guaraci or Quaraci (from Tupi kwara’sï, “sun”) in the Guaraní mythology is the god of the Sun, creator of all living creatures.

Jaci (from Tupi îasy “moon”), is the goddess Moon, protector of the lovers and of reproduction. The goddess is identified with Vishnu and Isis.

Big snake (cobra grande), also known as boiúna, is a fantastic creature from Brazilian folklore.

Aurora Street, São Paulo, Brazil KOELLREUTTER - the music revolutions of a Zen master emanuel dimas de melo pimenta 2 0 1 0

1

Music only really is music when we forget the sound Hans Joachim Koellreutter

Late 1970.

I lived in the city of São Paulo – which already was a megacity, then with about ten million inhabitants.

Brazil still dragged on, stubbornly, its military dictatorship. The rivers of the city were already rotten, 38 stinking contaminated by debris and waste of millions of people. The feeling, when we passed near those rivers, was to be closer to the intestines of a gigantic animal. KOELLREUTTER - the music revolutions of a Zen master emanuel dimas de melo pimenta 2 0 1 0

That great city already was surrounded by poor neighborhoods and slums.

There was, as always, a scenario of profound contrasts. Wonderful people, violent people, fabulous intellectuals, illiterate unscrupulous entrepreneurs, genius businessmen like José Mindlin – who also was a renowned book collector – artists and thinkers, cheap thieves, gangsters.

That world was an anthropophagic amorphous jelly, where the figure ofMacunaíma – the anti hero, the ignorant well succeeded cheap thief personage created by the writer Mario de Andrade – was present everywhere, from the street vendor to the owner of a large industry.

But with that light amorphous figure of Macunaíma, 39 hero without character, everyone could do anything. Everything was light and bright, like the fascination of anyone KOELLREUTTER - the music revolutions of a Zen master emanuel dimas de melo pimenta 2 0 1 0

in front to total diversity.

Along years I often visited the house of a family of French origin, the D’Elboux – who were like my own family. They lived in a small but beautiful house designed by the famous architect Carlos Milan. That house was probably his last project.

It was a modern house, entirely built with apparent concrete, with large sheets of glass, colored doors, gigantic trees around, and the always-opened front door. That house became a meeting point for intellectuals and artists.

Everything there was extremely refined. A small but interesting contemporary artwork collection on the walls – and even the furniture were artworks found at the Biennale or art galleries. In that house I had my first meeting with 40 Claude Lévi-Strauss’ works. KOELLREUTTER - the music revolutions of a Zen master emanuel dimas de melo pimenta 2 0 1 0

Like a paradox, urban violence had already invaded everything with its blind animal voracity – especially in large cities like São Paulo and Rio de Janeiro – but it was nothing comparable with the one erupted few years later.

In 1977 I was nineteen years old and received the Brazilian Marketing Award, awarded by the Brazilian Association of Marketing, together with the great poet, writer and journalist Jorge Medauar – an unforgettable friend with whom I have learned countless things.

Many times, one of the advantages of that world was to have no differences in age. Medauar was about forty years older than me, but we were the same age.

Years before, when I was fourteen, my parents told me that, surely, I would become an artist, that practically 41 all artists were poor, that many among them did not like to work and that, therefore, I was immediately obliged to start KOELLREUTTER - the music revolutions of a Zen master emanuel dimas de melo pimenta 2 0 1 0

making money.

After some time, I started working on marketing and communication. Thus, I would receive the Brazilian marketing prize in 1977.

About two years before I began studying flute, history of music, music theory and harmony among several other disciplines with different teachers of music.

I started relatively late, because everything should always be hidden from my family, who did not admit even the possibility of hosting a musician, artist or intellectual in its space.

For several months, I left work late afternoon and went – no one noticing at home – to the downtown, to study at a 42 music school. It is also true that there was not great concern about knowing where I was. This concern only happened KOELLREUTTER - the music revolutions of a Zen master emanuel dimas de melo pimenta 2 0 1 0

when I came too late to sleep.

That music school – located at the Aurora street – was deeply embedded inside the underground worlds of the decrepit city center, in the back of an old house, with cracked walls, plants everywhere, in a street made famous because of prostitution, as if it was hidden from the planet Earth. The vast majority of the students were old and young jazz musicians, people of the night, poor people fighting for something better.

People for whom the heroes were not Beethoven, Mozart or John Cage, but Cannonball Adderley, Ornette Coleman, Hermeto Pascoal, Egberto Gismonti, Thelonious Monk and an ocean of musicians whose names are lost in time.

43 All them were eager to learn something new every day, a new technique, a new secret. KOELLREUTTER - the music revolutions of a Zen master emanuel dimas de melo pimenta 2 0 1 0

There was no sign or indication that behind that small iron gate that led us to an open corridor leading to the back of the house, it could be a music school.

I always had the impression that it was an illegal establishment, sinuously bypassing the bureaucratic barriers created by authorities.

The narrow entrance that led to the back was like an entrance to the underworld. In the street, drug dealers, junkies, drunks, prostitutes and she males walked happily and knew everything about the place.

The police did not exist, and in that street it was not necessary. The place had its own law.

44 Contrary to what one might imagine, the level of education in that small, marginal and hidden school, where KOELLREUTTER - the music revolutions of a Zen master emanuel dimas de melo pimenta 2 0 1 0

only the stories guarded by its entrance could fill many books, was one of the best I knew in different countries I have been over the years.

There it was a unique spirit of respect, impetus, seriousness, dedication and collaboration. Teachers or students, all were there for pure love to music, for pure love to knowledge.

In that place, everybody was equal, each one with his or her instrument, each one with his or her music.

Occasionally, though rarely, an important musician appeared. When that happened, the musician entered as an ordinary and simple person, attending the classes with us.

Some of those teachers also worked at the best 45 universities in the country. But there, the program was not established by any state. It was born from the will of the KOELLREUTTER - the music revolutions of a Zen master emanuel dimas de melo pimenta 2 0 1 0

people.

It seems too poetic. But that’s what we felt. Being there, it was like being in another world, free of greed, lies, or power games.

The violence of the military in Argentina could overcome all imaginable horrors. Hundreds of killed people. Once, a boy from Buenos Aires appeared. His instrument was also transversal flute. He was very skinny, very white, with long black hair and frightened eyes. Nobody knew who were his relatives or even his surname. He was quiet, very quiet, as if keeping a terrible nightmare. He spent many hours there, playing alone, away from people. As if he could finally breathe freely. As if he had finally found a safe refuge.

No one bothered the young Argentinean. Quietly, 46 people pretended not to know his dramatic story and used such deliberate ignorance to dispel any suspicion that might KOELLREUTTER - the music revolutions of a Zen master emanuel dimas de melo pimenta 2 0 1 0

lead him to the police.

In 1979, I obtained a period of vacation in my job and traveled with a group of people recently graduated on geography, history, sociology and geology to the Indian tribes Karajé and Tapirapé in southern state of Pará, in order to understand how the aesthetic principles of space-time happened in those societies. As soon as I returned from that fabulous experience in the forest, which resulted in an extensive photo essay, I went almost directly to the United States to develop a professional project research on marketing, in several American states.

Then, to me marketing was the knowledge of human history, what led people to exchange, the reasons why that action united or separated them, how brain and body worked, the formation of ideas, communication, the chaotic order 47 that bundled the anthropophagic societies in large cities... KOELLREUTTER - the music revolutions of a Zen master emanuel dimas de melo pimenta 2 0 1 0

Thus, in addition to marketing, architecture, urban planning and the transversal flute – which also meant the piccolo, alto and soprano flutes – I also studied tenor soprano and alto saxophones, clarinet, violin, piano, electronic music, concrete music, I published my first books – then on poetry and fiction – I was an editor, art director, I took part in the direction of a documentary film, I wrote story-boards for a few short commercial films for television, I studied theater, I spent a reasonable time on painting, drawings, I wasa photographer, I had my first exhibitions, I plunged inside philosophy, I studied electronics, electricity, communication, I adventured my soul – still touching delicately – the worlds of physics and logic. Theory of Thought and neurology would come later.

This frenetic madness of activities, such uncontrollable obsession to grab whatever I could know, in its widest 48 diversity, would know a dramatic change some time later, and I could not predict that. KOELLREUTTER - the music revolutions of a Zen master emanuel dimas de melo pimenta 2 0 1 0

As soon as I returned to Brazil – I had traveled to Florida, California, Nevada, Ohio, North Carolina and Georgia – I took a firm and radical decision: to find the best music teacher and, if possible, the best music teacher of the world.

Early on, certainly as genetic condition, I was a kind of outsider, like an alien, almost an extraterrestrial. I never liked closed groups of any kind, and this always represented a kind of barrier that made me even more an outsider.

At that time, very fast, the world had already intensified its glued bureaucratic structures paralyzing itself with the appearance of an ignorant bureaucratic aristocracy and a vast continent of non-qualified labor force.

Increasingly, everything passed to require the presence 49 of an intermediary. KOELLREUTTER - the music revolutions of a Zen master emanuel dimas de melo pimenta 2 0 1 0

Curators started to be necessary for museums, as marchands for art galleries, journalists to enable communication with newspapers or magazines, teachers to indicate other teachers in universities and so on.

Those who did not pertain to such a tyrannical formula, as it was my case, usually ended up ostracized in a slow and deep erasure.

As terrible as that threat may seem, it never bothered me.

I have always been free; I always fought for freedom and always paid, with pleasure, the price to be free and of freethinking.

These so personal details, which often make people 50 blush, are here as part of a story and therefore are no longer personal. KOELLREUTTER - the music revolutions of a Zen master emanuel dimas de melo pimenta 2 0 1 0

Who would be the best teacher in the world?

I was asking around, listening to stories of musicians, students, what other teachers said, people from other areas. There was no Internet yet and everything had to be always and inevitably involved in great mystery.

I began researching who had been teacher of some important Brazilian composers.

Egberto Gismonti studied with Nadia Boulanger, but nothing only she was too far, in Paris, as she passed away in 1979. Hermeto Pascoal vented freely that everything he knew had ever been learned from himself!

But gradually, step by step, the story of virtually all 51 other composers persistently revealed a German name: Hans Joachim Koellreutter. KOELLREUTTER - the music revolutions of a Zen master emanuel dimas de melo pimenta 2 0 1 0

Even older composers had been his students.

Gilberto Mendes, Júlio Medaglia, Guerra-Peixe, Claudio Santoro, Diogo Pacheco, Edino Krieger, Clara Sverner, Isaac Karabtchevsky, Eunice Katunda, Gilberto Tinetti, Damiano Cozzella and Marlos Nobre among many others, had been his students.

Beyond conductors and composers of the so-called erudite area, there were many who were devoted to popular music, such as Tom Jobim, Tom Zé, Nelson Aires, Paulo Moura and a countless list of great musicians.

On the other hand, when I asked, people not always said good things about him. Some quickly turned up their noses, angrily, saying he was merely a deceiver, not a real 52 musician, but a bad teacher who mislead people, affecting their careers. KOELLREUTTER - the music revolutions of a Zen master emanuel dimas de melo pimenta 2 0 1 0

In one or other way, there was always an aura of great mystery about that name.

Who was that mysterious personage? Some said he lived in India, others in Japan, however, at that very moment, I knew he was back to Brazil. But I did not know exactly where or for how long.

All that was known about Hans Joachim Koellreutter was a kind of rumor, as if the information floated volatile, changing here and there, gossip to gossip.

That aura of mystery produced a strong wave of intimidation in my soul.

I asked one of my teachers of history of music for help. 53 Although intimidated, I was determined to find a way to contact that Professor Koellreutter, whose name few people KOELLREUTTER - the music revolutions of a Zen master emanuel dimas de melo pimenta 2 0 1 0

could speak and hardly anyone was able to write properly.

«This guy is crazy! For him, anything is music. He is not a musician! He is a charlatan!» – was what I heard amid laughing of disbelief. The young professor was furious, only because I had referred his name. Immediately, he added: «He is a very learned man. He requires thorough training of their students. He doesn’t accept everyone as a student. Even so, he is not a good teacher. He has no rules, no method… I can indicate you to another professor, with him it will be a waste of time».

But! It was a clear contradiction. How could the German professor be very learned, requiring a thorough training of his students and, at the same time, to be a charlatan, a fraud?

On the other hand, when I asked how he could be a 54 charlatan if he had been a recognized master of so many celebrated composers, the answer usually said that he was a KOELLREUTTER - the music revolutions of a Zen master emanuel dimas de melo pimenta 2 0 1 0

deceiver, making only what the students wanted, for money, that no one learned anything useful with him, because he had no method.

According to those people, the success of some of his students could be explained by the outcome of the work of other teachers and to the undeniable talent of the student that would inevitably emerge sooner or later.

Other times, his unquestionable aura was explained by the fact that he was a “foreign”. «He is a foreigner! Brazilians give value to people from other countries, especially those coming from Europe or the United States... they submit themselves to the foreign ... Here in Brazil, it is enough to be a foreigner to be glorified» – others said, many not disguising a good deal of disdain that came together with those words. 55 Other ones preferred not even to talk about him. And KOELLREUTTER - the music revolutions of a Zen master emanuel dimas de melo pimenta 2 0 1 0

despite all this, his name had a fabulous aura.

Of course, there were teachers that defended him, like Maria de Lourdes Sekeff among some others, but I did not knew her at that time, I would be her student only some years later.

The importance of as composer and teacher was undeniable. Nevertheless, it was extremely rare to find articles about his work in newspapers at that time. He would return to a more regular presence in media a few years before his death.

In those days, late 1970, there was a remarkable paradox: he was as famous as practically unknown.

No one could inform – or did not want – where he 56 taught. «He is always traveling», was another typical response. KOELLREUTTER - the music revolutions of a Zen master emanuel dimas de melo pimenta 2 0 1 0

When people said he was a charlatan, generally they added: «For him everything is music, even the sound of a pot against a wall, a scream or a car accident can be music for him» – people commented ironically. But every time they did, I felt he would certainly be a wonderful teacher.

Those ferocious objections reminded me those often directed against John Cage.

Finally, I discovered where he was teaching in São Paulo.

He taught at FAP Paulista Faculty of Arts, located in the city center, very close to an important hospital, the Portuguese Beneficence, relatively close to the end of the famous Paulista Avenue and very far from where I lived. 57 I made a phone call to the faculty, looking for some KOELLREUTTER - the music revolutions of a Zen master emanuel dimas de melo pimenta 2 0 1 0

information. I found that, in fact, he taught there. He came from Rio de Janeiro, a few days a week.

The person on the other side simply added, in a laconic and sharply way, that I should personally go to college – they would not give any other information by phone.

I went there in the following day. At the time, my hair was long, covering my shoulders and my beard was also long, smooth and grew insistently down, almost never to the sides.

When I arrived at the college, at the secretariat, the person I met was a short black man with very shiny skin, fast and brilliant round eyes but deeply serious as if he were always in bad mood.

58 I asked to speak with Koellreutter. He asked me about what. I told him I would like to talk to him, just that. The man KOELLREUTTER - the music revolutions of a Zen master emanuel dimas de melo pimenta 2 0 1 0

shook negatively his head and started quick informing that he never attended anyone.

I insisted, saying that I wanted to become his student. The man smiled full of irony: «So, what you need is to talk to me, not to him!» – suddenly he disappeared behind folders and shelves full of papers.

After some large seconds, he returned bringing a big book, black hardcover in fabric. He opened it, and I could see the program and timetable of the teachers there, manuscript with blue ink.

He asked for the name of the teacher who had indicated me. I told him I had no name. No teacher had written a recommendation letter. Exasperated, the man shook his head again in negative tone and in sign of contempt, as if I 59 definitely was a lost case, and turned the pages of the book, licking the point of the fingers, always with a very negative KOELLREUTTER - the music revolutions of a Zen master emanuel dimas de melo pimenta 2 0 1 0

expression, as if my presence there was nothing but a big waste of time for him.

«Professor Koellreutter has no more vacancies. He cannot accept you as a student», he shot in a final and laconic way.

Caput! He closed the big black book with a strong slap. He went to the other side, quickly answered the phone, hung up, and began to separate some papers, as if I was no longer there.

Everything was so dry, aggressive and fast that it took me a bit to realize that he was no longer talking to me. The man had left me “talking alone”!

60 I was shocked with that attitude. «There is no vacancy?» – I insisted, full of inconformity. «No...» – he said distantly, in KOELLREUTTER - the music revolutions of a Zen master emanuel dimas de melo pimenta 2 0 1 0

monosyllabic way, as if talking to a ghost, and especially as if it was a big favor, while he read in silence a newspaper article about a football game that had happened the day before.

«So, in this case, I would like to talk personally with him» – I replied. «Impossible» – he continued in the almost imperceptible monotone tone that came since the beginning – «No one talks to him». The man was now even more absent, reading the newspaper, comfortably seated behind an old desk. The indifference was absolute.

That man was known as Bira, and later, over the years, as incredible as it may seem, we had an excellent personal relationship!

Unlike that first and so negative impression, I would 61 discover that he was an extremely dedicated, competent but very informal person. In general, the students liked him very KOELLREUTTER - the music revolutions of a Zen master emanuel dimas de melo pimenta 2 0 1 0

much.

Bira became a kind of essential reference in that college. He was one of those personages that pass relatively invisible and discreet through the history of the world, but deeply marking the places where they are and those with whom they live.

What I had interpreted as indifference and even contempt was nothing more than the result of a nice, loose and fluid informality.

The college was housed in an old palace built in the late nineteenth century. It would be demolished in the late 1980s to make way for a lucrative building with dozens of apartments.

62 Next to the secretariat, which operated with a counter for general attendance, there was a flight of stairs to the KOELLREUTTER - the music revolutions of a Zen master emanuel dimas de melo pimenta 2 0 1 0

lower floor of the old house.

I noticed that many students passed several times by those stairs, up and down.

On the other side where I was, on the same floor, two students – a little younger than me – were leaning against the wall chatting as if they owned the whole time of the world.

I went to them. I asked if they knew Koellreutter. They answered yes, of course! I asked when he would be there. «He is here today!». I asked if they knew where he would appear when classes ended. «The only way will be through these stairs. He’s down there giving a class now and this is the only way out. Everybody pass through those stairs!».

There was one more problem – I had no idea about 63 how he physically was. KOELLREUTTER - the music revolutions of a Zen master emanuel dimas de melo pimenta 2 0 1 0

I asked them about how he was. «Old...» – was the only thing they said. I insisted and I knew we were almost the same size, I would be a little taller, thin, no beard or mustache, and no glasses...

I asked again if they would stay there longer and if they could show me who he was when he appeared. Laughing like if I was a fool alien being, they finally agreed to help me. They’d make a sign as soon as he would appear.

Disguising, I bent my thin body and sneak to pass the balcony of the secretariat without Bira could see me.

Quietly, I walked up at the stairs and was waiting, leaning against the wall, where I could not be seen from the secretariat, waiting for Koellreutter.

64 There were about two hours patiently leaning against the cold wall. KOELLREUTTER - the music revolutions of a Zen master emanuel dimas de melo pimenta 2 0 1 0

As always, I had a book with me. I took to read while waiting. Many students passed me by. Some looked curious. At times, I came to fear being discovered by Bira.

It was not easy to be against the wall during that endless time, which seemed even bigger with me squeezed there, hidden from the sharp and smart looks of that young man working at the secretariat.

Then, after more than two hours with the irritated straight body, motionless like a fakir, when the pain of fatigue had definitely won my legs and my soul was stirred to anxiety, suddenly I began to hear voices and more voices.

What until then had been almost pure silence and peace was suddenly transformed by a metallic ring and 65 human beings who spout out a bit from all sides like the sound of the sea, as if a membrane had been broken and KOELLREUTTER - the music revolutions of a Zen master emanuel dimas de melo pimenta 2 0 1 0

suddenly a sea of life took all that space like a chaotic and uncontrollable flood.

Paradoxically, one could see that actually it was a relatively small sea of people, whose rapid approach was quite remarkable.

Those sounds changed everything – space, lights and colors of the place.

Reality was changed.

Classes had finally ended.

Students and teachers poured through the stairs.

The staircase was crowded. 66 Everything was invaded by voices, eyes, hands and KOELLREUTTER - the music revolutions of a Zen master emanuel dimas de melo pimenta 2 0 1 0

bodies.

I could no longer see the boys who had promised to indicate me who was Koellreutter. Certainly they would not even be there anymore.

At that precise moment everything became lose important. There were too many people. Everything was a big mess.

Behind the first and second wave of students of all kinds and colors, smiles and jerks who were crowded to go up, there was a small group, quieter, surrounding a man with age-old appearance, severe appearance, with big eyebrows with long spiky wires and very white hair.

It was him! 67 Koellreutter was then almost sixty-five years old, but KOELLREUTTER - the music revolutions of a Zen master emanuel dimas de melo pimenta 2 0 1 0

looked older. I was about twenty and looked younger.

As he was climbing the stairs, I went down one step, imposing myself in front of him in a disturbing way, like a menacing barrier to his passage. - Professor Koellreutter? – I asked seriously, very directly. - Yes? - I need to talk to you. - Ok. You can say what you want... - But I need to talk to you privately. It’s about something I cannot speak here. It is a private matter.

When I said that he bushed. His face became very serious, immediately revealing signs of tension and concern. 68 What that private matter could be? Who was that boy in his front, preventing his passage? KOELLREUTTER - the music revolutions of a Zen master emanuel dimas de melo pimenta 2 0 1 0

The students around him were silent with gravity. Everyone figured the most gee-whiz stories. What would the avalanche of rumors that would draw the next few days?

Koellreutter was baffled. But he was a determined man. With firm steps, some gestures revealing irritation, he went ahead and made a signal to me with his hand saying that I should follow him.

He asked me to wait for him in a corridor near the staircase. He entered in the secretariat. I could ear a brief discussion. I was able to distinguish Bira’s voice from the confusion, he was almost begging, saying that he had not idea about what could be.

Until that moment, that man did not realize it was me. 69 He thought I had given up two hours earlier. Koellreutter came walking toward me, serious and KOELLREUTTER - the music revolutions of a Zen master emanuel dimas de melo pimenta 2 0 1 0

energetic.

Behind Koellreutter’s footsteps the long sight of Bira jumped out, he raised his hand to the head as if he could predict the inevitable disaster.

We entered, only Koellreutter and me, in an empty classroom, and he closed the door sharply behind him. - What is? – he asked with arms crossed, visibly angry and impatient. - I need to be your student.

Koellreutter did not know what to do. That definitely was something he could not foresee happening in that day. What boldness!

Deeply surprised, he looked at me, and remained, 70 bewildered, in silence for several long seconds as if he was working out the best way to deal with that situation. KOELLREUTTER - the music revolutions of a Zen master emanuel dimas de melo pimenta 2 0 1 0

Suddenly, in a friendly tone, but still angry and dry, he shot: - Well... you need to talk at the secretariat... you have to talk with people at the secretariat... I do not handle it. You must understand that I don’t have time for such things – he closed the conversation with a heavy German accent. - But! I’ve had to wait over two hours against the wall, and even to be unkind to you because the I was laconically informed at the secretariat that it would be simply impossible to become your student, and also that it was almost forbidden to talk to you. How such a situation might be possible? Please, forgive me, I’m sorry, but simply there was no other way out. I couldn’t speak about this in front of other students... 71 Still with crossed arms, Koellreutter shook the body KOELLREUTTER - the music revolutions of a Zen master emanuel dimas de melo pimenta 2 0 1 0

back and forth. He judged the situation. Despite my boldness, I had some reason. The arguments were correct. It remained to know if I was serious. - Well... what do you do? - I study architecture, urban planning, I worked on marketing for some years, I write... - Non, no, no... do you play a musical instrument? - Transversal flute. - What your repertoire on flute is? - Debussy, Bach, Mozart, something Prokovief, but I don’t want to be a professional flutist. I play just for love of music. I want to be a composer. Have been working on it... I have studied... - Who were your teachers?

I said the name of three or four teachers. - And why they did not forwarded you to me? 72

I was completely lost. I had an answer. I really was an KOELLREUTTER - the music revolutions of a Zen master emanuel dimas de melo pimenta 2 0 1 0

outsider. I was not someone who follows a carefully marked route. None of my teachers wanted to “forward” me or even to write a recommendation letter. - Well... well... But now, in fact, I think that my schedules is full. - Wouldn’t be some way?...

Seeing my insistence, he stopped for a few more seconds, still with crossed arms, again moving the body slightly forward and back, looked at me seriously and said, as if he was unsure about his decision: - Yes, there is a way. You will start studying aesthetics and contemporary music. You will start the courses of introduction to the aesthetics and music of the twentieth century. The classes are already full, there is no vacancy, in principle you could not enter, and we already had one lesson, but I can put you 73 there... We can create an exception. Let’s do this experiment. KOELLREUTTER - the music revolutions of a Zen master emanuel dimas de melo pimenta 2 0 1 0

He always spoke exaggerating the r’s and often committing errors of grammar, because of his strong German accent.

We went together to the office. Bira was visibly upset, apologizing repeatedly, almost with reverence to Koellreutter, who just said: «Therre is no prroblem... therre is no prroblem...».

He put his hands on his hips, turned to me and said firmly: - Okay. Then we see each other next week.

He turned back and walked away.

That was our first contact, which would lead to a deep 74 friendship over about twenty-five years. KOELLREUTTER - the music revolutions of a Zen master emanuel dimas de melo pimenta 2 0 1 0

If I had given up, if he had decided that it was not possible to accept me as his student, if he had considered too arrogant my attitude, if he had not understood my situation, probably our great friendship would never have happened.

This is one of the major differences between great human beings and mediocrity.

Mediocre people quickly consider themselves too important and blindly follow strict rules that they submit themselves. But great human beings are always open to others and free to change, to learn at any time or place.

75 KOELLREUTTER - the music revolutions of a Zen master emanuel dimas de melo pimenta 2 0 1 0

2

To be free to learn is to maintain a permanent posture of humility.

And humility is the key word for improvisation.

All great human being is creative and there is no creativity without some kind of generosity.

So, humility and generosity are magically combined in great personages.

Koellreutter was a great man. 76 At that time, many people accused him of arrogance, perhaps because he was extremely serious, clear, direct, KOELLREUTTER - the music revolutions of a Zen master emanuel dimas de melo pimenta 2 0 1 0

objective, and radically committed to his job.

With him there was never room for too much talk – he always went directly to the question.

But in the depth of his being, he was extremely humble and generous, a person who spent his entire life questioning about himself, wondering about the nature of everything.

The fact he accepted me as his student, especially considering those strange conditions of our first contact, is the proof of his spiritual greatness.

If I was asking him to learn, the only thing he could do was to help me.

In the following week, I began attending his courses 77 on aesthetics and on the music of the twentieth century – which, indeed, could be called “history of contemporary KOELLREUTTER - the music revolutions of a Zen master emanuel dimas de melo pimenta 2 0 1 0

music”.

I made so many questions during the classes, that it became not easy for him to fulfill the program. However, they were not only honest but also, in general, pertinent questions to which he never avoided. Instead, to each question he developed a long moment of reflection – and he never hidden how he appreciated them.

Many times, he made questions as responses.

Both his questions and answers were an intellectual challenge to everyone.

Each lesson was quickly transformed into a deep brainstorming ruled by him with great mastery.

78 If he was demonstrating a principle of quantum physics or whether he was talking about St. Augustine and someone KOELLREUTTER - the music revolutions of a Zen master emanuel dimas de melo pimenta 2 0 1 0

asked why, about the reason of being or to have been, about the reason why something was said, immediately and excitedly he plunged himself inside a reflection that opened other doors, illuminating other issues.

He did not hide the fact that those were the moments he loved most.

In many occasions, classes ended up becoming vibrant debates without, however, losing their original target.

Sometimes they became dialogues only between we both. I was deeply amazed by the vastness of his culture, with his wisdom. I couldn’t stop asking questions and he encouraged them. His animation pushed me forward to more questions.

79 Quickly, the students began making jokes with me, saying I that never left him in peace. But I don’t think he liked KOELLREUTTER - the music revolutions of a Zen master emanuel dimas de melo pimenta 2 0 1 0

very much such a kind of peace.

What had started so harsh and aggressive, with my so unkind act, to say the least, gradually became a relationship of reciprocity in the pursuit of understanding the roots of things – of course, I as student and him as the master.

But, in fact – anyone at any time or place – we never teach, we only learn.

He quickly realized how much I had been honest when I approached him at the stairs of the college asking to be his student. And such thing was the most important for him: honesty.

Beyond honesty, what he appreciated most in a student was his or her capacity of dedication and participation. 80 When people listened him in silence, without KOELLREUTTER - the music revolutions of a Zen master emanuel dimas de melo pimenta 2 0 1 0

questions, without expressing doubts, without provoking discussions and reflections, everything became tiring and boring for a spirit like his.

When that happened, sometimes he complained to himself, almost in silence, muttering that the lesson had not been good in that day.

On the other hand, when someone began to ask just for asking, without basis, without quite knowing where he stood, without having an open mind, trying just to attend – sometimes so flattering – to the desire of the master with questions with no depths, no substance, he immediately unmasked the impostor and asked why he was doing that and what he was doing there, in that class.

With Koellreutter there were never half words. 81 Reactions were varied, but usually when that KOELLREUTTER - the music revolutions of a Zen master emanuel dimas de melo pimenta 2 0 1 0

happened, the student immediately disappeared. And it was not very rare to happen that.

So, quickly, he acquired a reputation to be a tough, ruthless and authoritarian person.

To Koellreutter, intellectual honesty had always been a very first and unquestionable value.

When a course started, especially when it was a class with several students, he immediately explained, with clarity and patience, every word and concept he would use – and as soon as he did it, he put the subject and concepts under discussion.

If during the course he would use the term “aesthetics”, for example, the first thing he did was to explain what he 82 understood by aesthetics. KOELLREUTTER - the music revolutions of a Zen master emanuel dimas de melo pimenta 2 0 1 0

After the explanation, he clarified the reasons that had led him to use a so long time to explain a word or concept: − This is what I mean by the word “aesthetics”, no matter if you have another idea about it. Ifyou do, we can discuss later. What matters is you to understand every word I use, what I mean by each word, what that concept is for me. If we don’t use the same concepts, we will never be able to clearly communicate each other. This is a major problem in the world today. It is enough to take a look at a newscast on television or read a newspaper. Many people use ideas and concepts with different meanings, producing big misunderstandings and conflicts of all kinds. So it is important to make very clear what I mean by each word.

That was an essential point in 83 his classes: clarity of thought. - If we don’t understand exactly what we say, if KOELLREUTTER - the music revolutions of a Zen master emanuel dimas de melo pimenta 2 0 1 0

we don’t understand the precise meaning of every concept, of every word I will use, so you will not be able to understand what I have to say and what we will produce will only be a Babel Tower. Many times, I’ve read reviews, discussions, scientific or philosophical texts, where the person simply did not understand the meaning of the concept the other is using. And then, my friends, there is a lot of time lost, with no result. And it happens much more often than we think.

Koellreutter frequently recalled the biblical image of the Tower of Babel.

The list of words and concepts he explained in detail before each course could be from aesthetics to entropy, communication, knowledge, noise, intelligence, information, 84 monotony, redundancy, unity, totality and so on. KOELLREUTTER - the music revolutions of a Zen master emanuel dimas de melo pimenta 2 0 1 0

In his classes on aesthetics, from time to time, he stopped, crossed arms, turned to the class and said firmly: - Very well... my friends, now you have to ask. I’m at your disposal. – he kept his arms crossed and waited for questions and comments. Soon, he added: – I’m in no hurry; I can wait... if there are no questions we can stay here, looking at each other. – And stood there, quiet, until someone raised a question.

Koellreutter was, in fact, an enlightened person. Someone who needed constant challenges and that nourished himself with them, however small they could be.

Once, he invited the class to reflect profoundly about a famous Zen koan: What is the sound of applause made with only one hand? 85 Later, he asked: how is the sound of a single clap, of KOELLREUTTER - the music revolutions of a Zen master emanuel dimas de melo pimenta 2 0 1 0

a single strike of applause? And each one of us was taken to listen to our own body, to draw what such sound could be, to analyze that primitive sound.

The awareness of our human existence, the importance of interaction and also the phenomena of perception, within the universe in which people are immersed, was one of the central objectives of his lessons on aesthetics.

Few weeks later, one of the students – she was a brilliant teacher of children – came up with dozens of very interesting drawings. She had asked children from seven to ten years old to represented the sound of applause, the exact moment when the hands touch.

They were surprising forms, revealing much of the acoustic phenomenon. 86 - You all see? Children are always much smarter than adults, because they are open, they are not already KOELLREUTTER - the music revolutions of a Zen master emanuel dimas de melo pimenta 2 0 1 0

crushed by preconceptions.

One of the composers he most admired was Franz Liszt.

Much before Arnold Schoenberg, even in the nineteenth century, Liszt was responsible for the first atonal composition: Bagatelle without Tonality, composed in 1875. − Liszt correctly said that any sound could be followed by any other sound. It is only with this thought that we can understand Wagner, Mahler, Debussy and Schoenberg.

Following to his statement we admired and analyzed works by Kandinsky, Mondrian, Picasso, Bracque, but also other ones by Monet, Cezanne or Hokusai.

87 Those first lessons on aesthetics definitively established the roots of our long friendship. KOELLREUTTER - the music revolutions of a Zen master emanuel dimas de melo pimenta 2 0 1 0

Weeks later, he started inviting me to be his private student in several other musical disciplines.

Hans Joachim Koellreutter - photo by Emanuel Dimas de Melo Pimenta in São Paulo, in 1999 Everything happened gradually, step by step.

In the beginning, the invitation was only for the courses 88 of functional harmony and composition. Some weeks later it was for counterpoint, analysis, perception and so was going with several other disciplines. KOELLREUTTER - the music revolutions of a Zen master emanuel dimas de melo pimenta 2 0 1 0

At first, I shared the course with one or two students, until, after a while, I had classes alone with him.

My integration in his courses was so gradual but at the same time so fast and unexpected that I was surprised when I realized I was a student of Koellreutter in many disciplines, most of them as his private student, when shortly before everything seemed to be impossible.

Few months earlier I had been in Indian tribes in the southern of Amazonian forests as well as in several cities of the United States.

Inside the forests or in the streets of San Francisco, California, I never could imagine that shortly later I would become student of one of the most brilliant masters of the 89 world. KOELLREUTTER - the music revolutions of a Zen master emanuel dimas de melo pimenta 2 0 1 0

Some ideas marked in a very special way almost all of his classes.

From the beginning, and always, he insisted that we should always ask the reason of everything and also of our own existence.

In one of the first classes of the course on aesthetics, for example, he often said: - Why, why, why?... You should write a big sign with the word why? and hang it on your beds. So, every day, when awake, it would be the first thing you could see:why? . Never believe me or in any teacher, never believe in what you read and, above all, never believe in yourselves. Always, through all your existences on this planet, ask why?.

He repeated that relentlessly, in every course, in every 90 meeting. KOELLREUTTER - the music revolutions of a Zen master emanuel dimas de melo pimenta 2 0 1 0

If we were there to study music, we had to know what it was about – not just what was music, but what each one of us were. Who we are, why we do this or that? − What the meaning of music is? What music is? With what purpose we do things? Why to make music? Why?

Great part of people classifies types of music, among those who like or dislike, what they think to be valid or not, establishing judgments of value.

With Koellreutter, since the first lessons, students became aware that different types of music are all equally correct and interesting – whether it would be about pop music, rock, jazz, folk, the so-called erudite music, from any time, or about the most radical contemporary experiences of the musical universe. 91 Any music can be interesting. KOELLREUTTER - the music revolutions of a Zen master emanuel dimas de melo pimenta 2 0 1 0

As his student, anyone was free to take any path, with the condition to be coherent.

Thus, for him, it didn’t matter if the student dedicated himself to the erudite, popular or commercial music. All could have quality, and the aesthetic principles, the principles of composition as well as the important questions were always the same, valid for all.

To him, the coherence of what was done should to be found in its social function.

Everything should have a social function. Such principle should happen with the world of classical music, commercial compositions, works for music therapy, or even music for fun and entertainment – all them have social functions. For 92 him, the important thing was to be aware about of how such phenomenon happens. Being aware of what was the social KOELLREUTTER - the music revolutions of a Zen master emanuel dimas de melo pimenta 2 0 1 0

function in our daily activities. − To determine the social function is to know what you are doing. When you know what you are doing, the social function is automatically determined, because the human being is a social being, we are always integrated in a society. You can do what you want, music for advertisement, for television, cinema, entertainment or music therapy and so on. Nothing is wrong and a type of music doesn’t have less value than another one. If you chose what we call new music, you will be dealing with the limits of the music itself and, so, you will have consciousness as his essential element. You will be working with the structure of knowledge, of discovery. But, this is the most difficult path, because nobody pays for what doesn’t exist yet. And this is the reason why many people doubt 93 that the new music can have social function. In this path, you must be economically independent. If KOELLREUTTER - the music revolutions of a Zen master emanuel dimas de melo pimenta 2 0 1 0

you depend on the music to survive, making new music, it will be immediately corrupted, because you will be obliged to make exceptions, to give up here and there... and if you do it, everything will be lost.

Such awareness could only exist from a continuous questioning –why, why, why? – and a permanent exercise of self-knowledge.

Quickly, I realized the reason why many teachers did not tolerate him.

That posture of permanent questioning put at risk everything and everyone all the time. A project without coherence or someone who was not competent would automatically and immediately be revealed. 94 Incessant questioning eliminates personal importance KOELLREUTTER - the music revolutions of a Zen master emanuel dimas de melo pimenta 2 0 1 0

and condemns certainties.

The difference between those teachers and Koellreutter in terms of competence, openness of mind and culture, was simply astronomical.

For Koellreutter, freedom and conscience were the two essential elements of life, which should be defended at any cost.

Twenty-five years later, when he died, those same teachers – who so often had mentioned him with deep sarcasm and disdain – would praise his memory in interviews and newspaper articles, declaring that they were always his best friends and admirers, exactly as also happened with John Cage when he died.

95 The character of that great master, by many and for a long time considered a pervertor of young people KOELLREUTTER - the music revolutions of a Zen master emanuel dimas de melo pimenta 2 0 1 0

by instilling a spirit of permanent questioning, was clearly illustrated by the testimony of the composer Valério Fiel da Costa, made in 2005 when the death of Koellreutter: «When I first met him, I was studying musical analysis in Londrina – a city in southern Brazil – during a holiday festival in July of 1994. I did not know anything about Koellreutter. In the first lesson, to a class of young composers from everywhere in the country, which formed a large circle in the room of a state college in Londrina, in a very cold morning, he asked, in a very natural way: “What are you doing here?”. Our eyes bulging, our frozen fingers, our ears in doubt. There was a long silence, and someone eager to highlight supposed to have the answer: “we came here to study analysis, teacher!”. Already visibly impatient Koellreutter returned the question: “Why did you come to study analysis? What is analysis?”. Since no one expressed, and because the confusion was general, Koellreutter launched a last challenge: “Go home to 96 think! Tomorrow you tell me what you are doing here, so we can start with the course! Goodbye!” And left the room. We KOELLREUTTER - the music revolutions of a Zen master emanuel dimas de melo pimenta 2 0 1 0

remained a good fifteen minutes more waiting if something would happen. To me it had already happened».

That was Hans Joachim Koellreutter. The first class experienced by the young composer had been summed up in one question – what were they doing there? Who really was each one of those people? What was life for them?

It was the fundamental question which summarized all others and the discoveries throughout our lives. In fact, it was an attitude of questioning face to existence itself, what was essential not only for the course that would be done, for what each one would study, for personal discoveries, but also to the life path of each one of us.

In 1981, Koellreutter offered me, for the first time, one of his books. It was titledFunctional Harmony, published 97 three years before in Rio de Janeiro. In the introduction, he wrote: «It is not on the obedience to traditional order rules KOELLREUTTER - the music revolutions of a Zen master emanuel dimas de melo pimenta 2 0 1 0

and principles, but on the courage to break them that the value of an artwork is supported». − This is the only sense of artwork. If there is no transgression, then... it will be something else, but not an artwork. – he would tell me few years later, with which I have always totally agreed.

The courses on aesthetics, in late 1970s and early 1980s, took place in a conventional and small classroom.

Koellreutter sat behind a small wooden table at the bottom, on the left and in front of a large blackboard., He distributed small sheets of card on the table that helped him to guide the development of the class. Besides, a disc player – which not always worked well.

He always carried a black briefcase, in leather, where 98 he brought files, notes, some books and discs. KOELLREUTTER - the music revolutions of a Zen master emanuel dimas de melo pimenta 2 0 1 0

Those lessons had about twenty students – never more than that – and new students were not admitted if the course had already begun, excepting when I began studying with him.

In fact, the courses on aesthetics – that lasted about a half year – had the title of “Introduction to aesthetics” and he always insisted to emphasize it.

I made this course a few times and each one was a renewed pleasure. While the basic program was almost always the same, Koellreutter regularly introduced new philosophical reflections during the classes, turning everything different. − The program is the same. But the world is different, I’m different and you are different. We are always learning different things. – he justified when I 99 asked why every year the program of that course was always the same. KOELLREUTTER - the music revolutions of a Zen master emanuel dimas de melo pimenta 2 0 1 0

Is there any value in recorded music? - Someone asked in one of the classes. Would recorded music eliminate, by its own nature, the true musical experience that is rooted on the discovery, on the novelty? - Someone added.

Those were the moments he enjoyed most. He looked quiet at the class and did not respond. − Well... What do you think?

Soon, a lively debate captured the attention of all. Here and there, Koellreutter added small issues with just one or two words, as if he was delicately orienting the course of a river.

In the end, with sure words, he made a synthesis of the entire discussion: 100 - Are we all different every time? I am no longer the one who was here at the beginning of this class. How KOELLREUTTER - the music revolutions of a Zen master emanuel dimas de melo pimenta 2 0 1 0

could we listen to “the same thing” twice? In the same way, to listen to a recorded music will always be a different experience.

And he told us a curious story related by Salvador Dali, when the painter had lived in the United States between 1940 and 1948.

During those eight years, after the great success of his exhibition in 1941 at MOMA Modern Art Museum of New York, Dali would have been out-of-town for one year. Before leaving, he had a lunch with friends. When he returned a year later, he had a lunch again with the same friends. Then he was amazed – because those people, who had lunch with him a year earlier, were still talking about the same things. But Dali definitely was another person.

101 The lesson naturally slipped into the paths of Heraclitus, Parmenides, Zeno, projected on Epimenides’ paradox, the KOELLREUTTER - the music revolutions of a Zen master emanuel dimas de melo pimenta 2 0 1 0

famous paradox of the liar, and we inevitably arrived to thermodynamic systems and quantum mechanics.

To listen to him meant to be in direct contact with the thought of the famous philosopher and art historian Jacob Christoph Burckhardt, but also with Alois Riegl or Wilhelm Worringer.

Koellreutter was the living expression of the tradition that coined the ideas of Schopenhauer, Kant and Nietzsche, while method.

Who now reads a work by the genius Jacob Burckhardt will find in his books a very similar spirit to that we lived in Koellreutter’s classes. Sometimes, will find even similar expressions, other times the same logical structure, the same thought. 102 In his classes and in his brilliant ideas there were alive KOELLREUTTER - the music revolutions of a Zen master emanuel dimas de melo pimenta 2 0 1 0

the spirits that directly linked us to Palestrina, Beethoven and Schubert, and from these to Schoenberg, Alban Berg and Anton Webern.

Each lesson was a deeply striking and unforgettable experience. We traveled with his words, with his thoughts – and he had a great competence of oratory, making us really diving inside a wide variety of worlds – from the Middle Ages to John Cage, from Hokusai to Palestrina, from Plato to Claude Debussy or to India and Japan – and when it was about Arnold Schoenberg, Anton Webern and Alban Berg, the second Viennese School, then everything was even more exciting because sometimes he passed talking about his personal experience and it was a little as to share with us his memory, his soul.

The lessons of the course on the Twentieth Century 103 Music were a real plunge into the roots of Western musical thought, since the second half of the nineteenth century. KOELLREUTTER - the music revolutions of a Zen master emanuel dimas de melo pimenta 2 0 1 0

Each lesson was designed by hearings, analysis of scores and debates.

In one of the lessons, visibly moved, he told us how at nineteenth of April 1936, when he was only twenty years old – about our age then – just before fleeing Germany in 1938, he was present at Alban Berg’s Concert for Violin and Orchestra world premiere.

It was Alban Berg’s last work. The world premiere took place four months after the composer’s death, at the Palau de Musica Catalana in Barcelona, during the 14th Festival of the International Society of Contemporary Music.

Louis Krasner – who had commissioned the piece to Alban Berg – played the solo violin, and Hermann Scherchen, professor of Koellreutter, conducted the orchestra. Anton 104 Webern should have taken the direction of the orchestra, but he was too moved by the death of his close friend, and KOELLREUTTER - the music revolutions of a Zen master emanuel dimas de melo pimenta 2 0 1 0

was not able to do it.

The concert was also known as In Memory of an Angel.

With tears in his eyes, Koellreutter told us how, in that night of 1936, people were shocked by the news about the love of Alban Berg, much older, to the young Manon, daughter of Alma Mahler – who had been wife of Gustav Mahler – and of the brilliant architect Walter Gropius, founder of Bauhaus.

Alban Berg was exactly fifty years old and Manon just eighteen. It was a forbidden love. A scandal. Everyone commented. Berg was torn by a so intense love. Suddenly, Manon died victim of polio in 1935. His death was devastating for the composer. 105 Alban Berg died few weeks later, on Christmas Eve. KOELLREUTTER - the music revolutions of a Zen master emanuel dimas de melo pimenta 2 0 1 0

Coincidences increased the rumors of the time. The love between the old master and the young innocent girl was a nearly silent scandal. Social barriers. Old age. The immense and oceanic sadness of Alban Berg that had killed him.

The autopsy was inconclusive. It was presumed to have died of poisoning produced by the bite of an insect.

Many said he had been profoundly devastated by the overwhelming love. − You cannot imagine. Everybody loved Alban Berg. And, at that moment, we all were offering him an emotional tribute. The silence was total. All were deeply moved. At that epoch, a composer had an important role in society. People were totally taken by that moment. Across Europe, everybody talked 106 about that, always with great regret. Nobody laughed or smiled. But, there were no scenes of KOELLREUTTER - the music revolutions of a Zen master emanuel dimas de melo pimenta 2 0 1 0

pain or despair. Everything was quiet. Very quiet. It was overwhelming.

When he told such stories, each one of us was immediately aware of the great planetary transformation that had happened since then.

Today, a composer – especially on contemporary music – has virtually no social importance, even in Europe. In general, people passed to not know much beyond what is superficially established by mass communication and entertaining media.

Through his words, through the stories he told, we could imagine the cafes of Vienna, the narrow streets still lit with oil lamps, the night in Barcelona, the great division that existed between a great composer and the people – in some 107 sense like what would happen with actors in Hollywood especially after the Second World War. KOELLREUTTER - the music revolutions of a Zen master emanuel dimas de melo pimenta 2 0 1 0

Koellreutter insisted on the image of the concert hall in deep silence. People quiet. As if the composer was still there, living the great drama of his life. As if the scandal of an older man in love with a teenager could still hurt with lust the soul of every person there.

He told about the emotions, the murmurs that ran volatile between the seats in the theater.

And he played a sublime recording of Alban Berg’s concerto. And we all listened to him, almost paralyzed, in the deepest silence.

When he finished, at the end of that trip, many wept, especially the girls, and everyone – even him – was deeply moved. 108 We had traveled with him through his eyes, through KOELLREUTTER - the music revolutions of a Zen master emanuel dimas de melo pimenta 2 0 1 0

his soul, to what he had lived.

Every time the classes on aesthetics ended, there always was a moment for hearing one or two pieces of music – when we have not had it during the class or when questions and debate were not so intense as to consume those precious remaining minutes.

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3

But hearings were not exclusive of the Twentieth Century Music course.

We were delighted with very rare music recordings he brought us – Internet did not exist yet and there was no way to have those recordings in Brazil.

They included not only fabulous concert recordings of Ravi Shankar, but also of great masters of India such as Hariprasad Chaurasia and Ustad Sabri Khan, who were totally unknown in Brazil, and also a countless number of 110 Japanese composers like Tohru Takemitsu, Maki Ishii, beyond rare interpretations of pieces by Beethoven, Bach, Schubert, Guillaume de Machault, Perotin, Leonin, Palestrina, Debussy, KOELLREUTTER - the music revolutions of a Zen master emanuel dimas de melo pimenta 2 0 1 0

Gustav Mahler, Stockhausen, Pierre Boulez, John Cage, Gyorgy Ligeti and Franz Liszt among many others.

Since the first lesson of the course on history of twentieth-century music, I noticed that as soon as we started a hearing, he closed his eyes to hear, and sank into the music like a dream.

Sometimes, or in some moments, his eyes remained open, but distant, lost in infinity. With eyes open or closed, his body swaying slightly, especially the head, rhythmically, sometimes the arms, a finger, as if conducting the concert. Each hearing was a trip to a marvelous world.

The first time I saw his physical reaction to music, I was baffled – those bodily movements steeped in blind sight were something natural in me since childhood. I always 111 had to control myself to avoid being constrained by jokes and teasing, because people did not understand what was KOELLREUTTER - the music revolutions of a Zen master emanuel dimas de melo pimenta 2 0 1 0

happening.

The sensation is like being physically involved in the musical discourse.

We had the same physical behavior in relation to music – an identity that, I would discover little later, is shared by many musicians.

But it was something I still did not know about, and that first time was, in a certain sense, as to find in him a deep spiritual relationship.

When, late afternoon, almost evening, each of those classes ended, the sorrow was general. All we wanted was to continue. But Koellreutter was irreducible. At the precise moment that time ran out, it was the end point, not a minute 112 more – and usually the lesson never truly came to an end. KOELLREUTTER - the music revolutions of a Zen master emanuel dimas de melo pimenta 2 0 1 0

Always something to say was missed, on which he would return, attentively and rigorously in the next lesson. There was always a student who took notes about the precise moment when the lesson was over. And the lessons always ended “cut”, mutilated, because as a whole they seemed more like a continuum, a journey without end and without scales or breaks.

When someone arrived late and apologize, he said gravely: «My friend, the dead is always the culprit. Never the murder!». It was a way of making each one realize the importance of relying on the unpredictable, better planning each step.

He said the same thing to anyone coming with an excuse.

113 Nothing could serve as excuse. When he said that the dead was always the culprit, never the murder, some laugh KOELLREUTTER - the music revolutions of a Zen master emanuel dimas de melo pimenta 2 0 1 0

and discussion always appeared, but brief and lively. Some surprise and laugh.

Along years that expression became one of his best- known marks. In many places, especially among students, that statement was always lively commented and repeated.

Such statement was used in the most diverse moments. If someone said that had not been able to do the work because of something happened, would immediately hear: − The dead is always the culprit, never the murder. If you had taken precautions, if you had thought about what could happen, this accident would have been avoided.

He would make maximum use of that statement until much later, when urban violence, especially in São Paulo and 114 Rio de Janeiro, no longer allowed. Then he started saying, always with his strong German accent and always in good- KOELLREUTTER - the music revolutions of a Zen master emanuel dimas de melo pimenta 2 0 1 0

mood: − Now is no longerrr possible. Now, the dead almost always is the culprrrit, almost neverrr the murrderrr...».

When a student insisted justifying the delay by adding more and more excuses, he said, sometimes cold and dry: − My friend, I traveled more than four hundred miles to give this lesson and I arrived early. What do you want me to say?

And the conversation was over.

Some students did not accept his attitude; they came to be offended and went away forever. But he did not care. For him, everything was the fluid of Nature, and those who left should do so. 115 He was not a fatalist, someone blindly grabbed at KOELLREUTTER - the music revolutions of a Zen master emanuel dimas de melo pimenta 2 0 1 0

the fate. On the contrary, he firmly believed on free will, on freedom of decision and on the responsibility that freedom implicates. But, he was not person to close his eyes to the strange magic of certain similarities. He had a magical side inside him, very deep, unknown and unpredictable.

Koellreutter surely was the most demanding, rigorous and dedicated teacher of music I have ever had.

To start studying with him, one should be able to read fluently a traditional musical score, have a good musical culture, to know at least the basics of harmony, counterpoint and other disciplines.

At that time, I already read with fluency, at least the scores for my main instrument, the transversal flute, I already had a good musical culture and a reasonable knowledge of 116 those disciplines – but there were gaps, as there always is. KOELLREUTTER - the music revolutions of a Zen master emanuel dimas de melo pimenta 2 0 1 0

He could also accept a student who knew absolutely nothing of music – but it would be for classes of composition, as to develop principles of plastic composition, for example, or aesthetics.

No matter who was, Koellreutter never refused a dedicated and serious student, in any area he or she could be, but he looked to clearly distinguish the goals and maintained a remarkable difference in methodology of teaching. − Composition can be in anything, an artwork, a text, a movie or a musical piece. The important are the principles of composition. And aesthetics is always essential in virtually any activity. One cannot confuse things. If someone studies music, it is a story; if you want to study composition with other purposes, no problem, but it will be different. In the same way, a person may want to study music 117 to be a professional or just a dilettante. This does not put him in a level below the others. There is no KOELLREUTTER - the music revolutions of a Zen master emanuel dimas de melo pimenta 2 0 1 0

room for judgments of value or for preconceptions. Each person should be free to study and to be what he or she wants.

He always was very demanding. When we made mistakes in one of the several disciplines he taught, not infrequently he established an amount in money as penalty and threatened to charge with a tone of such seriousness that made the student uncomfortable and deeply concerned. − My friend, this error was so serious that the fine will be the double of the money I normally determine.

At the beginning we never knew if it really would keep our money, if it was really serious or just a joke.

Several students could not stand the pressure – they said he was too authoritarian – and simply gave up. 118 Of course, though threatened with firmness and KOELLREUTTER - the music revolutions of a Zen master emanuel dimas de melo pimenta 2 0 1 0

seriousness - because it was very serious for him – he never arrived to collect fines in cash. When we talked about it, he said without any trace of humor: − But! I’m not kidding. People have to understand that the work should be taken with responsibility, seriously. No one can charge a penalty on someone who is working seriously. But if someone is “dreaming”, distracted, then, what is this person doing here? I’m not here to waste time. Also you are not here to waste time. If someone thinks that lost time can be lost money, then he will give more importance to what he is doing. Time, especially here in Brazil, like what also happens in India, has almost no value. But everyone gives value to money.

To Koellreutter, work was the most serious thing in the 119 world, a serious approach that, in fact, has never been very common in Brazil. KOELLREUTTER - the music revolutions of a Zen master emanuel dimas de melo pimenta 2 0 1 0

If he asked for a task to be delivered on a given day, there could be no excuses. He gave all freedom for the student to discuss and even set the delivery time before, never after.

An important part of his role as teacher was to give to the students the ability of self-management. But many students did not meet their commitments – although they were, often, extremely talented. − Dolce far niente... dolce far niente... – he muttered smiling and crossing his arms, gently moving the body forward and backward, as if was nothing to do.

He thought that Brazil was the country of dolce far niente, in some sense like Italy. But he did not have this idea 120 as something necessarily negative. KOELLREUTTER - the music revolutions of a Zen master emanuel dimas de melo pimenta 2 0 1 0

It simply was the natural way of people. Only this.

Over the years I have witnessed recriminations regarding some of his students, even though he has always been very discreet. Those recriminations were often due to delays or to non-delivery of work. In most of the cases students arrived smiling, joking, apologizing the whole time and left smiling. They smiled even when he was very serious. In those moments he was visibly upset. Sometimes times he arrived to be tough: − My friend, being like this what you want? What will happen with your profession? You don’t work! So you will never achieve anything in life. What can we do?

When the student was no longer around, Koellreutter did not hide his fascination with the light spirit, the sweetness 121 of Brazilian people and, many times, made a playful comment in confidential tone. KOELLREUTTER - the music revolutions of a Zen master emanuel dimas de melo pimenta 2 0 1 0

One of his greatest pleasures was to live surrounded by students. When the students were around, he was well.

At the other end of the spectrum, something he detested social gatherings. He never wearied a tie or suit. − There is nothing more precious in life than time. Being around people that talk about superficial things, without interest, is a real suffering. You learn nothing. Everything is superficiality. Pure waste of time. The world is full of futile people. Sometimes I cannot escape. What to do? It is terrible time consumption for nothing.

Once, he was forced to not go to a diner we had booked because he had already scheduled another appointment, but had forgotten. 122 The appointment was with an important woman, KOELLREUTTER - the music revolutions of a Zen master emanuel dimas de melo pimenta 2 0 1 0

someone from the high society, one of the people who helped financially the college. − I’m obliged to go. There are commitments. That’s politics. And it’s important for the college. I will try to survive to this situation... Tomorrow you call me to see if I’m still alive... – he said joking.

The following day, when we were alone in the classroom, I asked how the meeting had been the evening before and he confessed: − Very annoying... very unpleasant... The person was extremely kind, but they are people from another world, not from my world, from our world, the world of music, the art world. She put to play in his excellent and expensive sound equipment some music I should listen... and she challenged me to find out who was playing! It was like a contest, a 123 game. It looked like a TV show... As if I was a tamed dog. How nasty! The husband and the other guests KOELLREUTTER - the music revolutions of a Zen master emanuel dimas de melo pimenta 2 0 1 0

also attended. At one point, she put to play a violin solo and asked who was playing. It was clear! Of course it was a solo by Jacha Heifetz. It was obvious and clear! But she was impressed, amazed, as if it had been something extraordinary, as if I was a witch. It was extraordinary for her, but not for a musician. She knows the brands of clothes, which is extraordinary to me! I cannot distinguish one brand from another. These meetings turn out to be a big consumption of time, very tiring...

I never arrived to know if Koellreutter really hadperfect pitch – at least he always said to me that he did not give any value to it. − What we call perfect pitch is the understanding of the relations, and it is something that can be studied, improved, trained. 124 When someone told him to not have hearing for music, KOELLREUTTER - the music revolutions of a Zen master emanuel dimas de melo pimenta 2 0 1 0

he said in a very good mood: − You do not have earrr? – and looked at the ear of the person – But! It is therrre!

To him, anyone could be a musician, in one or another way. Everything depended only on the commitment, on the time dedicated with love to the work. − There are, in fact, some people with real problems of hearing or even musical perception at a cognitive level, in neuronal terms. But when that happens, it is something about a medical nature. And it is rare. Everything else, ninety-nine percent of cases, it is only a matter of work, of education. An aboriginal in Australia has no “hearing” for the Western music, but surely, we also don’t have “hearing” for his music. When it is not about a serious physical problem, everything else is a cultural issue. 125 His understanding of education was that of information. KOELLREUTTER - the music revolutions of a Zen master emanuel dimas de melo pimenta 2 0 1 0

That is, the idea of a teacher in front of the classroom providing large amounts of information to students seemed something quite bizarre to him.

He had the understanding of education as the formation of the human being, a true paideia. So, he was open to be teacher of almost anyone, because he dealt with the method, self-knowledge, discovery – and that can happen in any discipline.

Some of his students were not musicians. There were physicists, philosophers, chemists, mathematicians, communicators and so on. Many people wanted him as a master, and not a few went from afar, even from other cities, to attend their classes.

Sometimes I had to wait to follow him at home, already 126 early evening. There were even students who appeared to be older than him, often scientists, especially researchers KOELLREUTTER - the music revolutions of a Zen master emanuel dimas de melo pimenta 2 0 1 0

on physics and chemistry. In those cases, there were always private lessons. And they treated him with profound reverence.

The classes on aesthetics were among his favorites. In those moments, it always was the start to a journey into the unknown, to the surprise, the unexpected.

Especially in those trips on aesthetics, but also in other classes, he liked to emphasize the relativity of things. − We live everything as an illusion. Maia! Everything is relative. When we say that everything is relative, it means that we are dealing with relations, never with the things themselves. Recently, two scientists argued that consciousness changes reality – consciousness changes matter! They are Eugene Wigner and John Archibald Wheeler. 127 That day, Koellreutter wrote in very big letters on the KOELLREUTTER - the music revolutions of a Zen master emanuel dimas de melo pimenta 2 0 1 0

blackboard: the consciousness changes the matter. And he strengthened, stressing that it is in experimental terms. And, also in big letters, he wrote the names of both scientists.

That lesson was one of the most important moments of my life. If the consciousness changes the matter, then almost everything we know is inevitably condemned to a profound revolution!

All Western culture is based on the principle that the matter changes the consciousness, never the opposite!

It was not about the Werner Heisenberg’s Uncertainty Principle, according to which the observation – through its media – changes the state of matter on a subatomic scale; but yes it was about the consciousness changing the matter!

128 And that dramatic statement posted on the blackboard did not say about any change in the understanding of KOELLREUTTER - the music revolutions of a Zen master emanuel dimas de melo pimenta 2 0 1 0

what was the matter, but about its change in concrete and structural terms, about its transformation!

When some other teacher heard a statement like that, quickly turned up the nose as if to say that the old German master had passed the limits, and that he surely was getting senile – and many said exactly that, though never in his front.

Koellreutter deeply loved physics and philosophy – were two fundamental bases of his thought, of his life.

When he referred to the fact of the consciousness changing the matter, he was pointing to the famous scientific event called Double Slit Experiment, conducted at the beginning of the twentieth century by the British mathematician and physicist Geoffrey Ingram Taylor, who 129 lived between 1886 and 1975. KOELLREUTTER - the music revolutions of a Zen master emanuel dimas de melo pimenta 2 0 1 0

John Wheeler and Eugene Wigner commented on that sensational experience in the ambit of a profound reflection on dissipative systems and the arrow of time.

Koellreutter also discussed openly, no matter who was the student, about dissipative processes, complex systems, arrows of time, questions about asymmetric or symmetric time, fundamentals of general relativity, chaos theory and many other elements of theoretical physics – and he did it in the late 1970s.

Ilya Prigogine was a constant reference in his reflections, but also Niels Borg, Albert Einstein, Robert Oppenheimer, Richard Feynman, Erwin Schröndinger or Werner Heisenberg and others.

In these reflections that bundled physics, philosophy 130 and aesthetics, the figure of aleatory, of chance, was often present. KOELLREUTTER - the music revolutions of a Zen master emanuel dimas de melo pimenta 2 0 1 0

− Ultimately, everything is chance. I mean, if we enter into a subatomic scale, we will have the Heisenberg’s Uncertainty Principle. According to it, it is impossible to determine the position of a subatomic particle. On the other hand, everything is causal, because all things are interconnected. When working with music, we will always be operating chance, in one or other way, deterministic or non-deterministic chance. The important thing is to give form to it, so it can be perceived. That is, the important is to establish causality in chance.

Sometimes, they were very abstract concepts and often, he had to repeat several times, calmly, reasoning with the students.

When I heard that the consciousness changes the 131 matter, in concrete and experimental terms, I got in touch, in the very next day, with the United States Consulate in São KOELLREUTTER - the music revolutions of a Zen master emanuel dimas de melo pimenta 2 0 1 0

Paulo, where I quickly had the address of the astrophysicist scientist John Archibald Wheeler, in Princeton University, near New York.

Although that at that epoch there were no fast communication systems like those that would arise few years later – everything was made through letters – there also were no fears, no catastrophic dangers of terror, imaginary or not, no exaggerated attention to security controls of all kinds, and, therefore, the American Consulate sent me almost immediately the address of the scientist without any hesitation or restriction.

Sometimes I wonder if, paradoxically, the overwhelming development of communication systems did not end up making more difficult to be connected with personalities such as John Wheeler. 132 Immediately, I wrote a letter to the celebrated scientist KOELLREUTTER - the music revolutions of a Zen master emanuel dimas de melo pimenta 2 0 1 0

exposing my deep perplexity – even though I was then a boy in his early twenties and he a recognized scientist several times nominated for the Nobel Prize.

I did not expect to receive a reply.

But to my surprise, it arrived. I was stunned! John Archibald Wheeler wrote very nicely thanking to my letter, stating that he had assembled a brainstorming group to reflect on my questions at the Princeton University!

That so generous attitude of John Wheeler made absolutely captured by his free and open spirit.

Along the following nearly twenty years, John Wheeler and I kept in touch through letters, but unfortunately we never got to know each other personally. 133 In the 1990s, as coordinator of a major international KOELLREUTTER - the music revolutions of a Zen master emanuel dimas de melo pimenta 2 0 1 0

meeting of art and science in Lisbon at the Calouste Gulbenkian Foundation, I invite John Wheeler to give a lecture, but he could not accept because of his advanced age.

When Koellreutter knew that I had written to John Wheeler, that he had replied and we were in touch through letters, he was immensely happy, really excited.

To Koellreutter that meant the success of a student, and there could be no better reward for his work as a teacher.

For him, success was not fame or money, but discovery, enlightenment. Being in touch with John Wheeler meant to be near a source of knowledge, to be better integrated into the global intelligence network.

That lesson that unchained my contact with John 134 Wheeler was not something isolated. There was no class with Koellreutter where there was not some kind of amazing KOELLREUTTER - the music revolutions of a Zen master emanuel dimas de melo pimenta 2 0 1 0

discovery and where he was not deeply committed to an absolute professional spirit.

With him, each one of us had to daily live the reality of discovery. But such reality should be, always, openly and strongly committed to the reality of life, with survival, with social issues and so on.

No one could be alienated. But to him alienation could not be resumed to the forces and mechanisms of production. It implied a universe closer to Michel Foucault, a kind of microphysics of power.

It was a matter of conscience.

The students respected him almost in a religious way. When he entered in the room, everyone stood automatically 135 in silence. There was no need to ask for it and it was not something determined by him, by any law or regulation of KOELLREUTTER - the music revolutions of a Zen master emanuel dimas de melo pimenta 2 0 1 0

the college.

There was, in relation to him, a true love for a great and unforgettable master.

I never saw any student arguing with him, not even talking more exalted. When thwarted for some reason, people did not discuss – Koellreutter had reached a state of admiration and respect that did not allowed major uprisings.

On the other hand, his dedication to students was total. He taught in cities hundreds of miles distant each other. Along years he lived between Rio de Janeiro and São Paulo. But in that same period, he regularly went to Curitiba, Belem, Belo Horizonte, Salvador – where he lived for years in the 1960s – and to many other cities. Sometimes, in some 136 periods, he arrived to travel more than two thousand miles a week, only to teach. KOELLREUTTER - the music revolutions of a Zen master emanuel dimas de melo pimenta 2 0 1 0

In a single week, often for several consecutive months, he was able to travel between Rio de Janeiro, São Paulo and Belo Horizonte to be with his students. If you look the location of these cities on a map, you will be very impressed.

The only person I knew with such a frenetic pace of travel and dedication to students was another teacher, another great master: Roti Nielba Turin.

To avoid compromising the time of the students, Koellreutter traveled at night and in most cases by bus. He tried to always stay in the front row, with the large front window reserved to him. On every trip, he bought two seats, to be more comfortable and, especially, to not have someone at his side, talking to him.

137 He preferred to travel in silence. «Who speaks much, thinks little», he always said. Sometimes, people saw that KOELLREUTTER - the music revolutions of a Zen master emanuel dimas de melo pimenta 2 0 1 0

the place beside him was vacant and went closed to sit. «This place is occupied!» – he warned with no patience. − People don’t understand! I pay for two seats exactly to have nobody next to me. When someone insists on wanting to sit next to me I ask if he or she can see that the place is already occupied, as if there was a person there. People don’t understand and sometimes sit. So I insist: “Now you just sit on my friend! Stand up, please! Fast! Hurry up!”. Sometimes they laugh, thinking that it’s a joke, so I have to make a very serious expression and re- emphasize, and sometimes they think I’m crazy seeing ghosts... and go out quickly.

Over the years he gathered students to travel to Madras in southern India during the dry season. They went to attend to the famous festival of Indian music. 138 Unfortunately, although we agreed to go together a KOELLREUTTER - the music revolutions of a Zen master emanuel dimas de melo pimenta 2 0 1 0

few times, I never had conditions go to these festivals. I met some people who went and came back delighted. The trip was not just to attend a festival of ragas, but also aimed to understand another world and even that one with which they were already all too familiar, numbed, insensitive. It was, after all, a spiritual journey.

139 KOELLREUTTER - the music revolutions of a Zen master emanuel dimas de melo pimenta 2 0 1 0

Hans Joachim Koellreutter - photo by Emanuel Dimas de Melo Pimenta in São Paulo, in 1999 140 KOELLREUTTER - the music revolutions of a Zen master emanuel dimas de melo pimenta 2 0 1 0

4

He always wore a shirt with turtleneck. For most of the years that passed I never saw him with another clothe, even when it was very hot in the summer.

I asked why he always dressed that way. The Portuguese composer Jorge Peixinho – who was a great friend of mine – also always dressed, religiously, turtleneck blouses. Many composers of that era dressed in that way. − Normally, musicians of the called classical music 141 use white shirts and black pants. But the left wing musicians, socialists, began to use shirt with turtleneck as a symbol, a way to other people KOELLREUTTER - the music revolutions of a Zen master emanuel dimas de melo pimenta 2 0 1 0

automatically know what they think. A left wing composer of contemporary music dresses like that. This began in the twentieth century, after the Second World War. I cannot use another cloth. It’s like a uniform. When someone looks at me, he or she already knows what I do and what I think in social terms. But in the end, everything is costume. You, for example, have a very romantic figure. − Romantic figure, I?!!!... – I did not know what to say. His unexpected statement left me puzzled. One of the classes was over, the other students had already left and we were alone in the classroom. − Yes, you look like a romantic character of the nineteenth century... − Why? − Because it is your image! See... your long beard, your long hair. It looks like if I was talking to 142 someone from the nineteenth century. You should cut your beard and hair. You are a contemporary KOELLREUTTER - the music revolutions of a Zen master emanuel dimas de melo pimenta 2 0 1 0

composer! Image is also communication. But this is your personal decision; I have nothing to do with it.

About two or three years later I would, in fact, cut off my beard and hair. Not because I had been or would be “romantic”. My decision was based on the idea that it is better to observe than to be observed, especially for those working with art and music. So, I should become invisible in order to better observe people, and go unnoticed – because society is our purest raw material. It was just an idea of mine, very intimate, personal. Even so, that smart observation of Koellreutter was indelibly imprinted in my memory.

He had great care with personal appearance, but pretended not to be different. He always took, like Jorge Medauar or even my father, always a small comb in the back 143 pocket of his trousers. We never saw him disheveled. KOELLREUTTER - the music revolutions of a Zen master emanuel dimas de melo pimenta 2 0 1 0

Maurício Nogueira Lima’s impressions, who was one of my best friends over many years, were very different to the image we had of Koellreutter – a serious person, Germanic and austere, cold and relatively closed. Maurício was an important concrete painter, who had decisively influenced the career of Max Bill – according to statements by the Swiss artist. According to Maurício Nogueira Lima, Koellreutter always caused a real stir among women.

The concrete painter – he corrected severely who called him concretist because he loved Dada and did not support isms – had been many times with Koellreutter in the past, they had been good friends and did not hide his admiration: − Look closely. He is an ugly man. He has a huge nose, huge eyebrows... But women are melted with him! How can it be?! 144 That impression of Maurício could be true, but – even KOELLREUTTER - the music revolutions of a Zen master emanuel dimas de melo pimenta 2 0 1 0

so – Koellreutter was a very discreet and classic man.

When he invited me to become his student of composition, the first thing he did was to require meto read two books. He said they were fundamental so I could understand the spirit of his classes.

He asked the same to all students, regardless of the course: Letter to a Young Poet by Rainer Maria Rilke and the Zen in the Art of Archery by Eugen Herrigel.

I had already read those two books – they were two very important texts in my life. At that time, I was delighted to know that we had another point of identity between us. − Well, my friend ... if you’ve already read, then it is ok... it is done – he said with a small step back, 145 without expressing any admiration or surprise. He spoke almost with indifference, as if he was KOELLREUTTER - the music revolutions of a Zen master emanuel dimas de melo pimenta 2 0 1 0

dealing with a goal that was already met, just an accomplished requirement.

In this spirit, he suggested several books, like The Banquet written by Mario de Andrade – which he analyzed critically and comparatively to the celebrated work by Plato; The Tao of Physics by Fritjof Capra, which we analyzed almost simultaneously with its launching in the United States, among others.

But there were books especially important to him. Paideia by Werner Jaeger was one of them; another one was Physics and Philosophy by Werner Heisenberg; and also Philosophy in a New Key by the philosopher Susanne Langer.

Another book he adopted in almost mandatory way in 146 the late seventies and early eighties, but not for the beginning students, was the Essay for a New Aesthetics of the Musical KOELLREUTTER - the music revolutions of a Zen master emanuel dimas de melo pimenta 2 0 1 0

Art, by Ferruccio Busoni.

Busoni wrote that fascinating essay in 1907. Almost one century later it was still exciting and challenging. «...we go to the abstract sound, to a technique without ties, to the unlimited sound. And all efforts should lead to this, in order to arise a new beginning of the musical art, marvelous and virgin», wrote Busoni.

His old friend, the brilliant conductor and musicologist Sérgio Magnani made the only Portuguese translation of this text in 1966, when he worked for the University of Salvador, Bahia.

Koellreutter had only one old original copy of that book. The only photocopy, which was transiting among the students for years, had been definitively lost. Someone had taken and 147 did not return it. Thus, we started making photocopies from Koellreutter’s original copy for the students. KOELLREUTTER - the music revolutions of a Zen master emanuel dimas de melo pimenta 2 0 1 0

A student, who was extremely careful and diligent, carried out the mission. To lost or damage some of his books or disks was something very serious – but that risk did not prevent him to lend them. He did it with great care. He always assured himself with precautions. Over the years – he said – he had lost a true library in hands of less attentive students.

I once asked him if he was not afraid to lend disks or books to students, if they wouldn’t be in imminent risk to disappear. Personally, I never took any of his books or disks out from his home. - Yes, it is true... sometimes they disappear. When this happens, it is very serious. But what can I do? Objects don’t exist for me or for you, they exist for people. We are nothing more than the trustees of the objects. 148 Everything is a fast transition. Soon we will not be here. What would be the use of a book or a disk if it KOELLREUTTER - the music revolutions of a Zen master emanuel dimas de melo pimenta 2 0 1 0

would stop with me?

In the first lesson of composition he asked me to show something I had elaborated, any musical piece that I had composed.

Our lessons of composition did not start from nothing, but they were born, in some sense, from something I had already made, from something concrete.

To Koellreutter everything had to have such objective component. Nothing could be out of reality – out of what we are and of what we do.

Of course, I didn’t have with me something I could present him. So, that first lesson was devoted to better understand what I was doing in general terms, my repertoire, 149 my reading level, a long reflection on principles of order, a little history of the composition and so on. KOELLREUTTER - the music revolutions of a Zen master emanuel dimas de melo pimenta 2 0 1 0

It was not professorial, pedantic; by contrary, were at a table and talked like two friends.

Later, walking by the corridors, I commented about Eugen Herrigel’s book, which had been an important book for me. He smiled and quickly changed the subject. We both loved that book. Its story about consciousness had captured our spirits.

However, there was a serious problem related to Herrigel – like what had happened with Ezra Pound, T. S. Elliot or Villa-Lobos, each one for different reasons, but similar in some sense. Herrigel produced indeed a beautiful book on Zen. But, because of mysterious and dark reasons, he joined the Nationalsozialistische Deutsche Arbeiterpartei, the Nazi Party, in 1937 and became an enthusiast Nazi and obsessed 150 follower of Hitler – in the same time Koellreutter was forced to flee Germany. KOELLREUTTER - the music revolutions of a Zen master emanuel dimas de melo pimenta 2 0 1 0

- We always ask ourselves how something can happen. Life is made of paradoxes.

In the next lesson, as he had requested, I brought with me one of my totally graphic musical scores, made with layers of semi transparent paper. The composition was called Cantos.

That piece had been elaborated after conceptual elements of chaos theory and, as what happens with my musical compositions to be performed by other people, it was oriented to the creativity of the musicians – however, already establishing logical principles that aimed to break with the traditional form of music articulation.

In that composition, everything happened as a dynamic game where the work of the composer and that 151 of the performers were strongly interlaced – something that would be characteristic of virtually all my future works. KOELLREUTTER - the music revolutions of a Zen master emanuel dimas de melo pimenta 2 0 1 0

He observed, in cool and professional way, leaf by leaf, not hiding some surprise in front of those layers with various colorful drawings. - Well... I take this with me to analyze.

A week later, again during the class of composition, we both alone in a classroom, Koellreutter spread out my graphical music scores on the table, crossed arms and said very seriously: - You did that? - Yes, of course!... - I answered very surprised by his question. After all, how could it have been someone else? - Do you know what planimetry is? Have you studied that? - No... – I had never heard that expression before. 152 Planimetry is the term used for graphic music scores KOELLREUTTER - the music revolutions of a Zen master emanuel dimas de melo pimenta 2 0 1 0

made on two-dimensional surface.

He asked me to explain it in detail my composition, how it worked, how the musicians should perform it, from where its basic idea had emerged, how many songs like that I had already elaborated and so on.

For each answer, he asked something very disturbing. I was obliged to be extremely concentrated. The feeling was that it was a sort of game between our two minds, and that my composition was a kind of background, as a reference.

That truly was my first lesson of composition with Koellreutter. An intense and challenging intellectual debate. - Do you know my piece called Ácronon?

I did not know about it. 153 Composed by Koellreutter about two or three years KOELLREUTTER - the music revolutions of a Zen master emanuel dimas de melo pimenta 2 0 1 0

before, in 1978, Ácronon is a musical piece for which its graphic score is drawn on a large sphere of crystal. The sphere is placed in the middle of the orchestra. Depending on the position of each musician, its reading is different. That is, each performer looks at the sphere and interprets what he or she sees: the indicative elements of sounds and their relations taken from different points of view and from different angles. What is ahead or behind is combined by the transparency of the sphere. But everything is structured in a unique sense of unity.

154 Sérgio Villafranca and Koellreutter with the Ácronon spherical music score KOELLREUTTER - the music revolutions of a Zen master emanuel dimas de melo pimenta 2 0 1 0

I think that the world premiere of Ácronon happened in 1978, performed by the Orchestra of the National Theater in Brasília, directed by Koellreutter, with Caio Pagano as piano soloist.

Many years later, he would tell me something very surprising. He said that in Brazil, at that epoch, sometimes the musicians of the orchestra simply refused to play a particular composition when they considered that “it was not music”! I think that this also happened in Portugal. And, perhaps, it still happens in many different places.

To perform Ácronon required a heavy preliminary work to convince the musicians of the orchestra that at first had refused to play. It had not been the first time the musicians had refused to play a piece with which they did not agree.

155 I knew that even pieces by Arnold Schoenberg, Anton Webern or John Cage were often rejected by the musicians KOELLREUTTER - the music revolutions of a Zen master emanuel dimas de melo pimenta 2 0 1 0

of some orchestras there!

My piece – which showed him in the first lesson of composition – wasn’t a sphere, but the various transparent layers, allowing an independent, mobile, flexible and simultaneously interdependent reading of the musical signs, established an unequivocal relation with his work.

It was something totally different from his work, but as if the phenomenon of serendipity emerged with all its exuberance, showing the reality of an ideosphere, there clearly existed a similar questioning in both compositions, pieces that had a similar nature, which belonged to a same world. - Why did you make this composition like that? Why did you choose such a strategy? – he said without hiding curiosity and also some reluctant surprise. 156 - Because each person is a complete universe, each person must be creative. The music score should be KOELLREUTTER - the music revolutions of a Zen master emanuel dimas de melo pimenta 2 0 1 0

a kind of guide, a conducting element for the musical experience, not a prison for the interpreter. A game, a process of dialogue between human beings. - You’re too young... your piece is very interesting. Last week I showed your composition to some people. Very interesting. In fact, it is very important. What are you looking for with such a kind of composition? - Subversion. I look to designate elements that establish moments of rupture, to break with the regular way of thinking. In each piece a challenge for those who hear must be present. An invitation to discovery. Establishing such elements, we are creating a shift in the way of thinking. Changing the way we think, we change the course of action, and we change our natures. – I answered very sure of what I did. - Very interesting. Everything must have a social function. Never forget that. There is much work to do. 157 No time to rest. KOELLREUTTER - the music revolutions of a Zen master emanuel dimas de melo pimenta 2 0 1 0

Dynamic virtual music score on computer screen, using artificial intelligence. Concert for large ensemble, by Emanuel Pimenta, 1982

Then, he started with questions and more questions. Usually short ones. Each question unchained a lengthy argumentation, a long answer, which he attentively listened to.

For someone who did not understand what was 158 happening, all that would surely seem very strange – because only made very short questions and I always talked about. KOELLREUTTER - the music revolutions of a Zen master emanuel dimas de melo pimenta 2 0 1 0

In some sense, his questions led my thought. They oriented the construction of my thought.

Typically, teachers are who speak more. Especially in composition classes and some other private lessons. This did not happen with Koellreutter.

Each word of the student was carefully measured and related to other ones. For him, no matter how simple they were, there were no words that did not deserve to be taken deeply seriously.

Classes were moments of great dedication. Intuitively, I began my work on graphic music scores in the late 1970s. I did not think it was something already belonging to a historical line of compositions. If on one hand, 159 the fact that Koellreutter had situated me in the historical context dramatically amplified the path I was still groping, KOELLREUTTER - the music revolutions of a Zen master emanuel dimas de melo pimenta 2 0 1 0

his other teachings on techniques of composition in that new medium turned possible the rapid improvement of my work inside dynamic universes operating in three and four dimensions.

Until then, great part of graphic scores – if not all – were two-dimensional and static, with exception toÁcronon and to some of my early work with free layers.

To achieve such degree of complexity required a high level of concentration and seriousness.

In Brazil, as well as in the United States, it is common for students to make jokes, puns, during class. When that happened, he was visibly angry. − My friend, I’m not here to make jokes. If you do not take it seriously, then the best will be to look for something 160 else to do. – he said with gravity, but without irritation. KOELLREUTTER - the music revolutions of a Zen master emanuel dimas de melo pimenta 2 0 1 0

Repeatedly, I witnessed scenes like this with the most different types of students. I think that such a thing never happened between us because I was very formal and from the beginning I realized that making jokes meant to spend precious time for him, a time with something that was not studying.

The great flutist Paula Robinson described a performance with Paul Hindemith, when she was still a student, revealing a behavior very similar to Koellreutter’s. «Paul Hindemith came to visit the Juilliard School while I was a student there. (…) How lucky I felt to be playing in Hindemith’s orchestra! (…) He was intense, he was demanding, and he conducted with relish. His countenance was stern most of the time, but his eyes gleamed with humor and sometimes tenderness. Well, after we young players had rehearsed and performed in this atmosphere for almost two weeks, we started to show 161 some strain. We were all tired and over-excited – a dangerous combination. Something was bound to happen. Sure enough, KOELLREUTTER - the music revolutions of a Zen master emanuel dimas de melo pimenta 2 0 1 0

during the final performance, at a particularly intense moment in the music, we heard a smothered snort from our clarinetist. That did it. Suddenly, the entire woodwind section was shaking and choking with laughter! We were horrified, but we couldn’t stop laughing. Hindemith’s face turned dark red; he was furious. He kept conducting, glaring at us – what only made it worse. Somehow, this terrible moment passed. We all collected ourselves and finished the performance. Afterwards everyone escaped quickly, but I lagged behind. Playing with the great composer had meant so much to me – couldn’t I just – just go backstage to apologize for all us and to thank him too? I approached the Green Room. Yes, he was there, surrounded by members of the Board of Directors of Juilliard and the Dean of the School. I drew nearer. Then he spotted me. His eyes opened wide, his face got red again. His mouth assumed the shape of a large square, and he started to yell “No respect! You have no respect for the music!”». 162 The essential issue was the respect for the music. KOELLREUTTER - the music revolutions of a Zen master emanuel dimas de melo pimenta 2 0 1 0

Hindemith was not concerned about himself or anything else. He was thinking on the music.

In many places, like Brazil for example, when a musician is playing in an open and public space, like a street, for example, good part of people do not even consider the possibility to be in silence. They continue talking, as if the music was not very important.

When something like that happened – in performances of his works or in his classes – Koellreutter simply could not admit. It was disrespect to the music, to the work and thereby to the civilization.

This curious identity between Paul Hindemith and Koellreutter extended itself to a way of being in front of European music, more formal and inflexible that the American 163 – north, central or south – way. KOELLREUTTER - the music revolutions of a Zen master emanuel dimas de melo pimenta 2 0 1 0

For the old European way of thinking, music was not a fun or something that could be taken lightly. Then, music was what was the most serious in the world, like medicine, physics or architecture.

It was not entertainment – like most people now consider it, in the beginning of the twentieth first century. It was the purest expression of civilization.

At home, he was very different – he liked jokes and always was in a good mood.

In fact, over twenty-five years, I never saw any clear trace of bad humor in him, even when he was in class or when going through some serious trouble. He could be serious, but never in a bad mood.

164 However, its seriousness and straightforwardness, his practical sense and his dedication were, sometimes, KOELLREUTTER - the music revolutions of a Zen master emanuel dimas de melo pimenta 2 0 1 0

misinterpreted as signs of bad mood.

He never distinguished students because of more sympathy to this or that. We all were there to work, and our work was discovery and elaboration.

It was evident through his eyes that, somehow, he liked my work, and that caused some discomfort among some of his senior students. But, excepting that, he always treated everyone equally.

Among many students, there seemed to be a competition around the master. It is about a competition in which I was not involved and never wanted to participate. Simply, I was not interested.

I was only worried about my new projects, how to 165 learn, how to dive into something new, a new process of composition. Everything else was pure folkloric distraction KOELLREUTTER - the music revolutions of a Zen master emanuel dimas de melo pimenta 2 0 1 0

and I did not have time for that.

When I was leaving one of the classes, in the first times, a student confronted me. He was a little older than me but had a far more accurate musical education than mine.

I was obliged to do everything hidden from my family and by myself, working to pay for my own musical education. Even if such a difficult situation had designed an overwhelming sense of freedom, it also provoked inevitable gaps against which I had to constantly fight.

In an arrogant and rude attitude, the student almost pushed me into one of the empty classrooms. He wanted to talk to me. He closed the door. He was visibly nervous. I had met him a few weeks before, but we had never even talked each other. He was one of the main students of Koellreutter. 166 He threw up a copy of a conventional music score on a small table. Just one page. KOELLREUTTER - the music revolutions of a Zen master emanuel dimas de melo pimenta 2 0 1 0

- Come on. I want to see who you are. Tell me, what this composition is? Who is the composer?

He was very aggressive. The page was a fragment of a piece for orchestra.

I did not know what to do. Deeply embarrassed and intimidated by his aggressiveness, I got the score sheet.

I was lost. Of course, the name of the composer, the title of the piece and anything that could identify it had been deliberately erased.

I did not know what to say.

I was literally confused. Beyond everything, it was profoundly ridiculous. Suddenly, the whole embarrassing 167 situation seemed to be something from another world. To prove what to whom? – I asked myself, inwardly, silently. KOELLREUTTER - the music revolutions of a Zen master emanuel dimas de melo pimenta 2 0 1 0

Noticing my confusion, even before I could say anything – even though there was nothing to say – he pulled the sheet from my hands: - It’s Beethoven, a page from the middle of the third movement of the fourth symphony. You see? You are a farce. You cannot even recognize a page of Beethoven’s work and you want to be a student of Koellreutter? Shameful!

He left involved in his own laughs, as aggressive as it came. But! How could I have recognized a page from the middle of one of the movements of a Beethoven’s symphony? Especially because I was much more involved with contemporary music.

Anyway, that incident, given the violence and the 168 degree of absurdity, made me really upset. KOELLREUTTER - the music revolutions of a Zen master emanuel dimas de melo pimenta 2 0 1 0

I came to wonder if I would be in the right place, if I really should be a composer, if everything would not be just a meaningless dream. With people of that sort, would it be a world in which I would like to participate?!

But the disturbance did not last long. The following day I was even more determined than before.

I knew that along all life I would meet many people like that in any area I could act.

After a few months, that student simply disappeared, mysteriously.

I never told about that incident to Koellreutter or to any of my colleagues.

169 KOELLREUTTER - the music revolutions of a Zen master emanuel dimas de melo pimenta 2 0 1 0

5

The lessons continued. We discussedgestalt strategies, principles of the theory of information, concepts of quantum physics applied to the establishment and questioning of the form, the emergence of consciousness.

All that could be discussed having a graphic score or a conventional one as the main reference.

Sometimes, to illustrate what he was saying, he got a score of Schubert, Palestrina, Bach or Debussy and made 170 a quick analysis. Everything was based on analysis, on the comprehension of the process. KOELLREUTTER - the music revolutions of a Zen master emanuel dimas de melo pimenta 2 0 1 0

At that time, especially in the lessons on the twentieth century music, there was a piece of music he had a special pleasure when analyzing it. It was Artikulation, by his friend, the composer Gyorgy Ligeti. Composed in 1958, the piece is entirely electronic and was the first one Ligeti composed living in the West.

Rainer Wehinger’s graphic music score for Gyorgy Ligeti’s Artikulation, 1970

In 1970, Rainer Wehinger – a visual artist, friend of 171 the composer – created a graphic interpretation of Ligeti’s music. KOELLREUTTER - the music revolutions of a Zen master emanuel dimas de melo pimenta 2 0 1 0

We listened and analyzed Ligeti’s piece. Later we confronted our analysis with Wehinger’s graphic work.

Thus we had a deep sense of the whole composition and not just of its parts.

But, there was something that, in general and in principle, Koellreutter did not like:glissands : - A musical note must be clear. Or is, or is not. You cannot stay in the middle of the way. It must not be something undefined. The definition of a sound is in its relations. What is not well defined, cannot communicate.

In the classes of composition, time passed too quickly and they always seemed to end suddenly. When the end 172 arrived I realized that, practically, only I had spoken. He heard what I said and shoot fast and very acute questions. KOELLREUTTER - the music revolutions of a Zen master emanuel dimas de melo pimenta 2 0 1 0

I quickly realized that this was the spirit of his lessons of composition.

Each brief question triggered a complex reasoning. They were fundamental questions that put in question everything I had done until then.

Each class was, indeed, a deeply self-analysis and a process of self-knowledge. From time to time he introduced a new concept, which triggered a revolution of ideas and an avalanche of new reflections. - Without analysis, we can never have a synthesis. - he always said.

It was the work of each one of us, our action, what caused the discovery. And the basis of all action should be the analysis. I could never be a teacher dictating rules, 173 exercises or formulas of any kind. The rules should be found, discovered, understood while indicators of how things work KOELLREUTTER - the music revolutions of a Zen master emanuel dimas de melo pimenta 2 0 1 0

and therefore always open to refutation.

His role was to get us to reflect with the deepest attention to every detail of our own work, of ourown actions.

His questions were a real orientation on a journey of knowledge, were true teachings about how to think clearly. - Each element of the composition must be considered, analyzed and worked. If it is a structural element, all its relations must be carefully worked, not matter what nature they are. If you adopt a sound... imagine, for example, a sound of percussion, a large metal plate... it must be worked. The metal plate is not relevant in itself, it is not human. But if you work the sound, then it is transformed into 174 music. You can find an interesting algorithm, you can establish an interesting set of timbers, KOELLREUTTER - the music revolutions of a Zen master emanuel dimas de melo pimenta 2 0 1 0

but if they are not elaborated, there is no composition. Nothing is relevant by itself.

Then I asked how Marcel Duchamp’s work could be considered, or – as his great friend Octavio Paz alerted – what stones chosen and signed by Buddhist masters, along several hundred years, turned in this way into something similar to what we call an artwork, could be considered? - Conceptual work can also exist in music. But they must be even more deeply developed. In any case, my work as a musician is with sounds. I work the organization of sounds. They may involve a high conceptual level, but while sounds they must be elaborated – this is the role of culture, of what we call civilization. Even if you use something intentionally crude, without treatment, this lack of treatment must 175 be communicated, otherwise it will not be perceived as such. So, everything is illusion and KOELLREUTTER - the music revolutions of a Zen master emanuel dimas de melo pimenta 2 0 1 0

everything must be developed at its smallest detail. This is what we call the quality of a work. If you go to Japan, you would see how they produce their instruments of percussion. That is something unique. I’ve never seen anything like that, anywhere in the world. Each instrument receives the dedication of hours and hours, if not months or years, of several people. That quantity of attention gives to those sounds an unsurpassed quality. Even when you intentionally use something without treatment, never forget that everything is illusion and that, in some way, such fact must be communicated, then it will already be elaboration.

Many years later, studying the work of Joseph Beuys, 176 I would see that both had a very similar method of work, possibly an ancient Germanic tradition. KOELLREUTTER - the music revolutions of a Zen master emanuel dimas de melo pimenta 2 0 1 0

Many students did not view favorably that method -which I considered fabulous. They questioned whether such a dedication to the smallest detail of each composition would, in some way, eliminate the lightness, the authenticity and originality of the work.

It can seem strange, but that was a current issue, even among some performers, who fought against what they called excessive technique, as being something that could somehow impoverish the artistic expression. - This is a big nonsense. If a person does not know the technique, the language, how could manifest, how could communicate? Everything is, in some way, translation. It is not to translate feelings or silly things alike. The point here is to translate structural 177 questions, logical processes. When Picasso painted Guernica, and presented the painting KOELLREUTTER - the music revolutions of a Zen master emanuel dimas de melo pimenta 2 0 1 0

as political protest, this does not mean he had painted it as political protest. He painted it, which is in itself a major work, later he said that it was a political protest.

He was not interested at all on those concerns against the technique. For him, composition was only a matter of method, a procedure of how to do, that could happen in many different forms as music, painting, sculpture, film – no matter what it could be, the important was the method and the method was the way of knowing.

Everything seemed to turn in terms of a continuous evaluation from which new concepts emerged.

In the classes of perception, for example, the notes were not important in themselves. Since the first moment we 178 should be concentrated only on the relations between the notes and how each type of relation implicated a different KOELLREUTTER - the music revolutions of a Zen master emanuel dimas de melo pimenta 2 0 1 0

nature of sound, a differentfunction .

Those classes generally happened with two students – under his orientation. There were hours and hours of exercise. One of the students was at the keyboard of the piano; the other one was far, not being able to see what note was played.

We always started with two notes – an isolated note made no sense. Then, we passed to three notes and so on. Some months later, they were sets of five, six or seven notes – till we arrived to the challenges of simultanoids, chords that are impossible to be classified according to the rules of tonality. - Stop thinking! Be free. Make as the intuition can be expanded. If you will continue thinking, trying to explain what the notes are, nothing 179 will result. But, if you simply listen to them, you will notice that each relation is something KOELLREUTTER - the music revolutions of a Zen master emanuel dimas de melo pimenta 2 0 1 0

like a form. When we perceive such form, that is, when we listen not thinking, when we are free, all musical relations suddenly become clear. Many times this doesn’t happen gradually. Great part of times, it is a mutation of the consciousness, a discovery.

In any of his classes, we were obliged to a permanent exercise of self-knowledge.

Throughout all the disciplines I would study with him, the statement that everything must have a social function was always present.

At the end of the lessons on composition, often, he made a last question, which should be answered only at the next class. 180 And, in general, although short, the question was of KOELLREUTTER - the music revolutions of a Zen master emanuel dimas de melo pimenta 2 0 1 0

such importance that it finished changing everything I had made, the whole composition – and I saw myself impelled to redo everything from the beginning.

The social function, without which no music could exist, implicated permanent attention. - People generally do not pay attention. They do many things without realizing what they are doing. To always ask “why” implicates to question the reason d’etre of the existence of everything, no matter how small it can be. A musical note, a noise, a silence – being the silence of expression or strong and autonomous entity – anything must have a reason d’etre. Not only everything should be carefully worked, but even before, everything must has a reason d’etre – nothing can exist 181 without a reason, because, even if we cannot immediately notice, everything we do has its KOELLREUTTER - the music revolutions of a Zen master emanuel dimas de melo pimenta 2 0 1 0

reason. The reason d’etre, its justification, is not a symbol, content, but it is in its relations. It is important to understand. The social function also happens like that, while relations, and without attention it passes unnoticed. When this happens, everything becomes just impoverished entertainment.

The nature of existence of each thing was something of fundamental importance in his thought. - You should always ask: why this music? And even: why music? Without knowing to answer that, why are you making music?

Another essential aspect of his teachings on composition was the importance of the understanding of the concept of unity. 182 - Without unity there is no form, and without form there is no composition, because there is KOELLREUTTER - the music revolutions of a Zen master emanuel dimas de melo pimenta 2 0 1 0

no consciousness, no perception. Composition is the establishment of form. – he said almost gruffly.

That concept also was, of course, strongly present in the classes on aesthetics. It was something that he brought from his learning since childhood in Germany.

During the years we were near each other, on several occasions, we heard together magnetic tapes of young composers who sent him their work, asking about his impressions. Many times, the recordings showed an excellent quality of sound, formidable timbers, but in fact there was not a work of composition. People were delighted with the color of the sounds, with an apparent improvisation, but it was nothing more. When that happened, Koellreutter was very upset: 183 - And now? What can I say to this person? It is evident that is someone with talent. But he KOELLREUTTER - the music revolutions of a Zen master emanuel dimas de melo pimenta 2 0 1 0

did not realize what a work of composition is. It’s not something I can say in a letter. The person needs to understand that. On the other hand, if I say anything like that and the person does not understand what I mean, it can be a demotivating factor. And I cannot do such a thing, because people need to be open to discovery. And to complicate matters further, I see through the letter that he already considers himself a great composer and has a great pride on what he sent me... A big problem...

So, Koellreutter worked on a letter attempting to carefully measure the use of each word in order to give a clue to the person, not a disincentive – what was difficult and extremely stressful.

184 In the classroom, he drew a large circle of Heraclitus on the blackboard, to the attentive students of aesthetics. KOELLREUTTER - the music revolutions of a Zen master emanuel dimas de melo pimenta 2 0 1 0

- The beginning of a circle is also its end – quoted the Greek philosopher who was one of his favorites – Total information or absence of information doesn’t communicate. This is the problem of communicability in many contemporary compositions. Many composers work with new sounds, but sometimes, the amount of information in their structures is so great that nothing exists. The level of information is essential to distinguish between what we call popular music or erudite music. Form only exists when information is closer to the center of the circle. When we walk in the sense of more information we have erudite music. If we move to less information, we have the so-called popular music. But after a certain point, both disappear. If we reach the 185 limits of the circle, form disintegrates. KOELLREUTTER - the music revolutions of a Zen master emanuel dimas de melo pimenta 2 0 1 0

What about minimal music? – It was a general question, and was placed as a sort of challenge. We had always been amazed with LaMonte Young, Phill Niblock and Terry Riley.

At that time, Philip Glass lived a great success with Koyaanisqatsi, which was also a film directed by Godfrey Reggio, after Einstein on the Beach; and Steve Reich, who learned so much from John Cage, although he never assumed it, launched a beautiful composition called Tehillim. - This is a good question. Minimal music inverted the process. It walked to information tending to zero. When it is about LaMonte Young, for example, then it is zero and everything is very conceptual. Here is an example – but this conceptual aspect is a strong reference to a very ancient historical framework. In any case, do not be deceived, when we have a concert 186 like In C, by Terry Riley, or much before him something by John Cage and even, in some KOELLREUTTER - the music revolutions of a Zen master emanuel dimas de melo pimenta 2 0 1 0

sense, by Eric Satie, cultural references are huge. It is not something out of a culture. On the other hand, some minimal works are only apparently simple – in fact, for who is able to identify their structural relations, they are quite complex. Everything depends on the scale.

He compared the thought of Heraclitus with that of Parmenides, setting out their conflicting points but quickly jumping to Thales, Anaximander, or to Plato and Aristotle. - Everything is transformation. Heraclitus said: «Souls are transformed into water when they die, the death of water becomes in the land, but the earth is reborn in water, and water in the soul». – he carefully and slowly repeated the statement of Heraclitus, which 187 he enjoyed in a very special way – But in such a metamorphosis that is everything, that is life KOELLREUTTER - the music revolutions of a Zen master emanuel dimas de melo pimenta 2 0 1 0

transforming itself, only the search for a totality can generate the form. A totality is produced by the sense of unity, which is different from a totos. Totos is all formless, full quality. Totality is the unity of form.

And suddenly he presented a fragment of Genesis according to John, and established similarities at the logical level with Heraclitus. - Here, we also have the circle, which was the form par excellence in the Middle Ages.

The classes did not happen only in relation to the past or to exclusively theoretical questions. Sometimes – when the subject justified – he told about some controversial fact, but he never said the name of the involved people, even if they had been profoundly unfair with him or with other 188 people. The students always insisted, curious, to know about who was this or that story. KOELLREUTTER - the music revolutions of a Zen master emanuel dimas de melo pimenta 2 0 1 0

- My friends, I cannot tell you. I would never tell the name of the people, simply because they are not here to defend themselves and, however I think to be correct, no one is the owner of truth. The important is not to know people’s names, but to learn with what happened. Memory is fundamental.

Once, he was questioned about the fact that Karlheinz Stockhausen had made a piece where each tone is divided into thirteen parts, obliging the musicians to a special training as to be able to perform it. - Stockhausen is a mystic, like Alban Berg was. But what is the true importance of to divide a tone into thirteen parts if the great majority of people is not able to listen the difference?

189 We analyzed works by different composers. - People must to know how to listen, to pay KOELLREUTTER - the music revolutions of a Zen master emanuel dimas de melo pimenta 2 0 1 0

attention, to identify what they listen to! – he said, apparently a little contradicted.

Once, in some classes of music of the twentieth century, he asked us to listen and to analyze the two books, from 1952 and 1961, of the work Structures for Two Pianos, by Pierre Boulez, in a recording made by the brothers Alfons and Aloys Kontarsky – who were true idols for us.

Koellreutter has a disc and music scores, but for him the most important was to listen. - Later we can dedicate ourselves to the music scores, but the most important now is to listen to. What do you feel when you are listening to these two works, from 1952 and 1961, separated each other for almost ten years? What can you identify as differences between 190 them? KOELLREUTTER - the music revolutions of a Zen master emanuel dimas de melo pimenta 2 0 1 0

For great part of the students, it was evident that the work dated of 1961 was less rigid than that of 1952, but no one was sure about that. It was only a sensation, a feeling. Would be reasonable and relevant to feel something related to that music, that is, to manifest something purely subjective in relation to it? - It is exactly that! You are right. The piece of 1961 is much more soft, more human. Why?

Again, the students were lost, not knowing what to say. - Because what is human, is more mysterious. The most important are not the explanations, but the questions. When Pierre Boulez composed the piece of 1961 he was older, he had already lived more experiences and, therefore, he was less rigid, less attached to dogmas. Both pieces 191 were composed according to the principles of Integral Serialism, but they are profoundly KOELLREUTTER - the music revolutions of a Zen master emanuel dimas de melo pimenta 2 0 1 0

different.

And we passed to analyze Water-lilies, the last painting by Claude Monet.

Few weeks after our first lessons on composition he asked me to tell him what I was doing besides music, what were my real goals in life.

I told him about my work on marketing, art direction, my painting using the most diverse means, plastic art on paper, video art, electronic art, Zen questionings, theater, my small movie projects, various musical instruments, drawings, industrial design, architecture, urban planning, studies on electronics, electrical systems, poetry, literature, photography, my love for science, philosophy – a boiling avalanche of activities. 192 Crossing arms as if it was about a serious problem, he KOELLREUTTER - the music revolutions of a Zen master emanuel dimas de melo pimenta 2 0 1 0

told me very dryly that he would like to see my work in other areas besides music, and that he had something to say, but that he wouldn’t tell me until know more about what I did.

He insisted that I should bring my work to him, at the college, adding that only later he could decide whether to continue or not being my teacher.

I did not know what to say. I had hundreds of paintings on paper and canvas – they were an intense and continuous Zen questioning on the artificial and the natural, on the intention and the chance, free will and fate. I worked tirelessly.

There also were some thousands of photos, texts, a big quantity of drawings, films, recorded electronic music, projects for art installations or video art. During holidays or 193 on weekends, while my brothers and friends went to the beach or to the countryside, to relax, I was alone in the city, KOELLREUTTER - the music revolutions of a Zen master emanuel dimas de melo pimenta 2 0 1 0

working feverishly. How could I show him only one or another work?

It was important to show him the ensemble of my work, otherwise he could not have a concrete idea about what I really did. And there were many pieces. It was literally impossible to take them to the college. Take one or other work would make no sense.

Many of my photographs were made on slides and, therefore, would be necessary a projector, a screen and a darkened room to see them. Many pieces of music were recorded in large rolls of magnetic tape. There were papers with drawings everywhere.

But there was another problem. And serious. Since always, my family was absolutely against any work of mine 194 related to music, to art or to any kind of cultural operation. Thus, virtually everything I did should be hidden. KOELLREUTTER - the music revolutions of a Zen master emanuel dimas de melo pimenta 2 0 1 0

At home, behind the garage, there was a small room, a sort of small basement, damp and dark. It was the space destined to me, so as not disturb the family with my activities, which were contrary to what had been firmly established by my parents, especially in relation to music.

That small room near the garage, was a way of keeping me at distance, to not be bothered and to discourage as much as possible my development as musician, artist or architect.

Being down there, they were protected from my sounds, my images and my texts. Many times, I arrived and immediately went there. It was my place. Sometimes days passed without seeing my family – when I went to work in the morning, they had already left, they traveled widely and were not interested on what I could be doing there. 195 Sometimes I felt to be in that house by accident. KOELLREUTTER - the music revolutions of a Zen master emanuel dimas de melo pimenta 2 0 1 0

Along years I was almost forbidden to talk to my family about my work on music or art and, even later, it would make no sense to want to share my experiences at home, simply because no one was interested. It is strange to say, but never anyone in my family, throughout my entire life, attended to any of my concerts or was present in any of my exhibitions.

How could I do? Bring the work to the college was an impossible task. - I will go to your home! There is no problem.

Koellreutter said that like a thunderbolt. I froze. But I could not deny.

How could I do?

196 There was no way out. Despite that embarrassing situation, I needed to show to Koellreutter what I did and, KOELLREUTTER - the music revolutions of a Zen master emanuel dimas de melo pimenta 2 0 1 0

indeed, the only way was to take him at that little hidden room behind the garage.

How could I explain that he could not go to my house? I had no courage to tell him what was happening. We agreed, simply, a certain night, after dinner, when I would take him to know my works.

A few days later, on the scheduled date, I stopped by his apartment in downtown São Paulo and we followed together, at late evening, to my house.

Carefully and quietly I put my car in the garage and we entered through a back door. I had to be extremely attentive to not make any noise that might reveal our presence. If my parents called me, it would be a disaster. Who could predict 197 what they could do? KOELLREUTTER - the music revolutions of a Zen master emanuel dimas de melo pimenta 2 0 1 0

On the other hand, I should act with the utmost ease, as Koellreutter would not realize that we were entering hidden.

Today, I am fully convinced that, since the beginning, he knew exactly what was happening. For a man with his experience everything was very clear. But he pretended to notice nothing. He acted naturally, always in silence. He testified the family drama of a young composer.

We entered and the small room where I had my works was lined with books, records, equipment, paintings, drawings and photographs.

Koellreutter sat on a small metal chair with the seat and back made with colorful fabric. We spent some 198 hours watching short films I made, photos, listening to my recordings, watching drawings, some experiments on video KOELLREUTTER - the music revolutions of a Zen master emanuel dimas de melo pimenta 2 0 1 0

art, paintings and talking about everything.

As I predicted, no one appeared.

The halls and rooms that stretched on that small basement were a large building and in that moment, and in a certain sense, it looked like a large ghost house.

In the end, after midnight, we left as we arrived: hidden, discreetly and quietly.

On the way back, always openly and without emotion, he asked: - Where your parents were? - In the upper floors. - Why we had to enter and go out hidden?

199 One can imagine my profound embarrassment – the legendary composer and master, Hans Joachim Koellreutter, KOELLREUTTER - the music revolutions of a Zen master emanuel dimas de melo pimenta 2 0 1 0

who was nearly seventy years old, entering and going out hidden from a house, in the shadows of night!

Emanuel Pimenta at his small studio near the garage, São Paulo, 1981.

I explained, very briefly – and more confused than 200 ever – that my parents did not accept what I did. KOELLREUTTER - the music revolutions of a Zen master emanuel dimas de melo pimenta 2 0 1 0

He made no specific comment on that, seemed to understand the situation much better than I could imagine. - My friend, I’ll tell you something very important: you are an honest person. There is a clear coherence in everything you do. There is a remarkable connection between your photographs, your music and your other projects. When I see one of your drawings, your photos, or I listen to your music, I am clearly in front of the same logical structure. The work of someone who lies, who imitates, who pretends to be something that is not, never has consistency. In some sense your works are amazing. But there is much work to do. You are honest. This is very important to me. It is even essential. I was worried about what I would find. We need to talk very seriously at the next 201 class. Do not take any composition next time. We just need to talk, and it is something very KOELLREUTTER - the music revolutions of a Zen master emanuel dimas de melo pimenta 2 0 1 0

serious. I have something very serious to tell you.

I was dying of curiosity. I insisted to know what so serious he had to tell me. But, as always dryly, with a small smile, he just said that I should wait for the next class.

I was afraid that he would no longer wanted me as a student, but his statement that I was honest was fairly reassuring.

What he would have, then, of so serious to tell me?

The following week I came to the class on composition with nothing on hands, expecting for the worst.

He asked me to sit down. 202 He walked to the door, locked it and put the key in his KOELLREUTTER - the music revolutions of a Zen master emanuel dimas de melo pimenta 2 0 1 0

pocket, showing that he did.

As almost always, the classroom was empty. We were alone, only we two. But this time he had locked the door and put the key in his pocket – as if I was arrested.

Before closing the door, he stretched his neck out and warned Bira that he did not want to be interrupted in any way.

I sat. We had a table between us. He opened the black leather folder he always carried with him. - My friend, what I have to tell you is very serious. This time you will not talk. I will talk. Today it will be different. You’ll be quiet. During the classes, I ask and you talk. Now, today, there will be no questions. I’ll just talk. 203 Nobody will interrupt us. I went to your house, and I saw what you do. You paint, draw, do KOELLREUTTER - the music revolutions of a Zen master emanuel dimas de melo pimenta 2 0 1 0

photography, music, architecture, urbanism, writes, writes poetry, does illustrations, studies philosophy and many other things. The world is not made for people like you. In life there are people who do not have much interest on things. Most people simply pass through this existence, and ultimately make what life puts ahead them. They are people accommodated in a job, for example, without asking too many questions. They spend their lives there, and are happy. They simply pass in their lives. There are other people who want to grab the world with all their forces. These people are voraciously curious. Nature has a mechanism to balance everything. It always tries to balance all things, turning things more equal: equalizing them. Thus, people who do 204 many things never have time to improve their competence. This is simply because we do KOELLREUTTER - the music revolutions of a Zen master emanuel dimas de melo pimenta 2 0 1 0

not have enough time. It’s not a question of lack of talent, it’s just lack of time. We have to sleep eight hours a day, we need to eat, and we must live. It is very important to live. If a person does not live, does not participate in society, if he or she does not do things beyond their works, they will not be able to create something interesting. Life is our raw material, over which we make our music, or whatever. Thus, a person who does many things will be automatically eliminated; he or she will become – inevitably – mediocre, incompetent. And that happens without he or she can notice, because the person is permanently involved in the pleasures of discovery. The people who don’t have too many interests, who do not have much curiosity, that are happy doing 205 only one thing, nothing in special, and always do it, continuously and routinely, will end up KOELLREUTTER - the music revolutions of a Zen master emanuel dimas de melo pimenta 2 0 1 0

becoming good at what they do. Also with them such phenomenon of balance happens without they can notice it. And also with them is only a matter of time. Thus, Nature balances things, making mediocre the most curious and valuing the less interested. Culture must play a role against this phenomenon. This was the role of the teachers who formerly had the task of to form the student. Today, everything is turned into information; there is no more the formation of the student, of the human being. You’re still young. Until now, everything you have done can be considered as your general culture. It is very good, yeah, I would say, formidable. But this is the last moment in your life to avoid becoming mediocre. There will not be a second time. So from today you 206 have to decide among three choices: you can continue as you are; you can choose to just KOELLREUTTER - the music revolutions of a Zen master emanuel dimas de melo pimenta 2 0 1 0

work on music, or you can choose music and architecture. The best, I think, would be to work on music and architecture, but it could be music and medicine, for example, because the music – especially that you do – will not give money, and even if it was another kind it is always very difficult to survive only with music. With contemporary experimental music is literally impossible. If you choose the first option, continuing as you are now, doing a thousand and one things, there is no problem – but never more talk to me. I have no time to lose. If you choose to make music and architecture – an option that I consider more correct – I will be very happy to continue being your teacher and I assure you that you will have a great success. You may wonder if 207 making just one or two things you would be impoverished in your experiences – bur it is KOELLREUTTER - the music revolutions of a Zen master emanuel dimas de melo pimenta 2 0 1 0

exactly the opposite. After a certain age, if you do too many things, you impoverish. If you do only one or two things, you improve yourself. In the future, when you will be forty or fifty years old, very carefully, you can gradually get closer to other activities. But until then, no! I repeat: If you choose to continue doing everything you are doing now, never more talk to me! I do not want you to open your mouth now. Not a word. Just come back next week. Then you will tell me what you decided. Now you can go. – he took out the key from his pocket, got up, walked around the room and opened the door without saying a single word, he just moved his arm as an invitation for me to leave, in a dry and even aggressive way.

208 He had spoken continuously for fifty minutes. But, they seemed to have been only five! KOELLREUTTER - the music revolutions of a Zen master emanuel dimas de melo pimenta 2 0 1 0

I knew he was right.

Everything suddenly became clear in my life. But, even so, despite my certainty, despite the clarity of everything, that challenge was a bomb in my soul.

I loved art, cinema, poetry, literature and so many other things. How could I leave everything from a moment to another? How could I be restricted only to music and architecture?

“Restricted” was the word that deeply disturbed me at that time.

I was devastated. I called a friend, Fernando Zarif, a colleague in the faculty of architecture, with whom I 209 developed several projects of art and concerts, and asked to meet him at a restaurant in the Bixiga neighborhood, in São KOELLREUTTER - the music revolutions of a Zen master emanuel dimas de melo pimenta 2 0 1 0

Paulo.

I needed to talk to someone. I did not know what to say. It was so obvious but, even so, I was disturbed.

We had a dinner and talked at length at an Italian restaurant. The clear and direct way Koellreutter had stripped my life had been truly shocking, devastating.

I would have to change, suddenly, my entire life. I had to abandon several projects underway. I needed to redirect my path. I should establish a new method of life – almost as if was born again.

The decision was immediately taken, and in a definitive way. There was no doubt. Suddenly, my entire life had become crystal clear. 210 But, it was a terrible decision. KOELLREUTTER - the music revolutions of a Zen master emanuel dimas de melo pimenta 2 0 1 0

That moment represented a radical change in my life. If I had not lived Koellreutter’s tough and serious words, surely I would have never had the impulse to assume a so dramatic attitude.

From that very moment, when I crossed the door of the classroom, leaving behind Koellreutter’s lesson, I started to dedicate myself exclusively to architecture and music.

I continued writing, developing theories, but always related to those areas. I left the literature of fiction, the poetry. On photography, I began to devote myself almost exclusively to architecture, to spaces created or changed by humankind.

Only about twenty-five years later, very gradually, I 211 come back to work in different areas. Even so, very carefully, never with the uncontrolled voracity of when I was young. KOELLREUTTER - the music revolutions of a Zen master emanuel dimas de melo pimenta 2 0 1 0

If by one side this change implied a certain rigor and an abandonment of an openly holistic approach, on the other, it made possible to rescue from different universes solutions to specific issues of music and architecture.

Thus, in fact, I never completely abandoned the other areas. But now they became oriented.

Years later I realized how correct that decision was, although painful.

My knowledge on architecture, music and aesthetics were expanded to levels I could never predict. They allowed me to dive deeper in several disciplines. I no longer wanted to know everything, but yes to recall from the most diverse areas, resources for my core activities. 212 Over time I learned that it was exactly what John Cage KOELLREUTTER - the music revolutions of a Zen master emanuel dimas de melo pimenta 2 0 1 0

and René Berger had done, among many other brilliant personages.

Everything was a question of method.

In the next lesson, with only two or three words, I announced my decision to Koellreutter. He simply crossed his arms and gave a slight smile. - Okay. Very well. I knew this would be your decision. – he said, without much conversation, as if they really knew what I would tell him. And we were back to work.

We never more talked about that.

213 KOELLREUTTER - the music revolutions of a Zen master emanuel dimas de melo pimenta 2 0 1 0

6

Months passed and I became very friendly with almost everyone in the college.

During a period of time, almost every Friday night, when the Koellreutter was in São Paulo, we all joined for a pizza in a famous restaurant in Bixiga, Cantina Speranza, at the street Treze de Maio.

214 He loved to made jokes and puns with the name of the restaurant, which means “hope”. KOELLREUTTER - the music revolutions of a Zen master emanuel dimas de melo pimenta 2 0 1 0

He always was the last one to arrive at those dinners. Then, everything should be well organized in advance, and he did not have to request to be like that. Otherwise, we all considered that it could be the last time.

His presence in those dinners was a tremendous honor for all his students. We were all very aware of how important he was, in the deepest sense of the term.

Every time he entered in my car, he looked at the back seat, which, not infrequently, was crammed with books and notebooks when I had no time to organize them. - My friend, do you see how the back seat of your car is? It is like your head inside today. – and laugh.

215 When the books and notebooks were organized, he did the same, but said: KOELLREUTTER - the music revolutions of a Zen master emanuel dimas de melo pimenta 2 0 1 0

- Well ... today your head is much betterrr. – laughing, always with a strong German accent.

Hans Joachim Koellreutter - photo by Emanuel Dimas de Melo Pimenta in São Paulo, in 1999 The lessons of aesthetics that, in some way, represented 216 less commitments, always unleashed magic moments. The number of students was restricted. And the classes would KOELLREUTTER - the music revolutions of a Zen master emanuel dimas de melo pimenta 2 0 1 0

begin strictly on time. - When someone arrives late, he or she is occupying the time of the other. It is an authoritarian behavior – he said, insistently. Nobody had the right to occupy the time of the other. Everything should go through a democratic criterion. – My friend, you are not used to live in democracy? To live in democracy you must respect the other. – he said to anyone who arrived after hours.

One of the concepts that characterized not only the lessons on aesthetics, but virtually all others was that according to which only the difference produces consciousness.

It is an ancient Vedic principle, registered in the Indian philosophical universe thousands of years ago, which 217 Koellreutter heard hundreds of times during the timehe lived in India. KOELLREUTTER - the music revolutions of a Zen master emanuel dimas de melo pimenta 2 0 1 0

Beyond the time, another key element that seems to have designed his entire life was the concern about the consciousness.

Everything in the consciousness is formed by elements of differentiation. These principles are fundamental both the analysis as in the preparation of a work – musical or not.

Even more evident than what happened in the classes on composition, his lessons on aesthetics were attended not exclusively by people related to music. There were teachers, scientists and professionals from the most diverse areas.

Thus, especially those classes on aesthetics quickly became a truly transdisciplinary meeting point.

218 Another concept – which he repeated in different contexts – was that the Occident is an accident, formulated KOELLREUTTER - the music revolutions of a Zen master emanuel dimas de melo pimenta 2 0 1 0

by the French philosopher Roger Garaudy, for many years a member of the French Communist Party and who had been in contact with Koellreutter in the 1960s.

Koellreutter liked to repeat, with his heavy German accent – “the Occident is an accident” and provoked a long debate on that statement.

Why the West appeared? What are the conflicts with the East? They exist in fact? – in addition to an endless series on several other similar questions.

In late 1990, Garaudy assumed a political position that would have been frontally rejected by Koellreutter. Then, the French philosopher published the negationist book Foundational Myths of the Politics of Israel advocating a historical revisionism, denying the fact of the Holocaust have 219 actually existed and converting himself to Islam. Koellreutter directly experienced the atrocities of KOELLREUTTER - the music revolutions of a Zen master emanuel dimas de melo pimenta 2 0 1 0

Nazism. He was forced to flee Germany. He arrived to affront the Nazi army with an aggressive letter when he was young. Organized a group of protest against Hitler when he still was living in Germany. His great master, Hermann Scherchen was a Jew. His first wife was Jewish. He lost many friends in the War and was a radical defender of individual liberties.

Many things have changed in the world during his life.

After some months studying with him at the college, the lessons on composition were transferred to his home, a beautiful apartment at the São Luiz Avenue, in the central zone of São Paulo, in front of the famous landmark building Italia.

I began to regularly go to his house. And often went 220 out to have a lunch, just the both. KOELLREUTTER - the music revolutions of a Zen master emanuel dimas de melo pimenta 2 0 1 0

In the beginning, we went to a small and austere German restaurant near there – which was his preferred at that time. I already was vegetarian. In those days he was especially loved steaks of veal, and the lunches, always accompanied by an austere glass of water, not rarely ran in absolute silence. None of us said anything for several minutes. - We need time to think, to observe. – he said, without hiding the great pleasure he wad to be in silence – People talk too much! They become without time to think.

We went and came back from the restaurant walking, almost all the time in silence. We crossed Praça da República. He just looked with curiosity, without stopping, the market of colored objects scattered on the floor.

221 I always left the radio on in my car. In cars, radio equipment consumed very little electrical power and I joked KOELLREUTTER - the music revolutions of a Zen master emanuel dimas de melo pimenta 2 0 1 0

saying that it was a way for the car to not feel too lonely when I was not around. Later, in my homes, there was always music from morning to night – in every room.

That habit made him surprised. Like John Cage, he never listened to music when it not a moment for this specific purpose.

To him, music could not happen as a continuum, as something belonging to the world. It should be something special. To me, music, the sounds from cities or from the countryside always were only one thing, something like the soundtrack of a movie. - To listen to music is not something unimportant. What happens non-stop cannot be important. Music is something very special. We need to give attention to it. Give it time. To respect it. 222 It makes no sense to have music all the time. If it is happening all the time, so it simply doesn’t KOELLREUTTER - the music revolutions of a Zen master emanuel dimas de melo pimenta 2 0 1 0

happen! There is no consciousness.

Once, when we walked back to his home, as soon as we had arrived at to São Luiz Avenue, he suddenly stopped and made a curious observation: - Do you see this avenue? Do you see the people who are walking? Can you remember how it was only fifteen years ago? People were very different. Imagine how it was fifty years ago. But it seems like yesterday. It’s amazing. I observe and I’m surprised. They dressed quite differently. There were many people with suit and tie. Today there are many races, wearing other clothes, much more colorful. Everything became more relaxed, less formal. People changed. The world changed. This is not to say that is better or worse, but only that everything 223 is transformed and that transformation will continue. It is an amazing metamorphosis. KOELLREUTTER - the music revolutions of a Zen master emanuel dimas de melo pimenta 2 0 1 0

I asked if Brazil seemed him to be closer to India after such a metamorphosis. - My friend, in a sense it is true. Brazil has the same perfume of India. But they are very different countries. India has a history of thousands of years. This history is reflected in people, what they are. Indians believe in general that Brazilians are very uneducated in general. If we compare the histories, they are right. Moreover, there is a freedom in Brazil that does not exist elsewhere. Sometimes, this freedom also means less respect. But here education should not be like it is in Europe. Here, we have different needs. Education must respect the place, it is a social issue. And, after all, the metamorphosis did not end. It is 224 continuing. KOELLREUTTER - the music revolutions of a Zen master emanuel dimas de melo pimenta 2 0 1 0

This conversation happened in early 1980s. I also asked, if he thought that Brazil would live a revolution, an armed revolt. In those days we lived the last years of the dictatorship, then at the beginning of a transition to a democratic regime. There was a lot of tension, corruption seemed to be widespread – we could not even imagine the levels it would reach in the future – and for many the only solution seemed to be an armed revolt.

It was incomprehensible and unacceptable a rich country like Brazil has such a quantity of miserable people. Even I wondered if it wouldn’t be that the only way out for the country, even considering seriously the terrible social costs that a revolution always represents. - There are two ways to Brazil. It may be a revolution, it is true... it is not impossible. But I do not believe very much in this scenario. 225 Chances are that Brazil will develop, in some sense, like India, not through revolutions but KOELLREUTTER - the music revolutions of a Zen master emanuel dimas de melo pimenta 2 0 1 0

yes through evolutions. If so, everything will take many generations, it will be slow, poverty or corruption will not end quickly. That seems me more coherent with the Brazilian spirit. If it is good or bad? There is no good or bad in this kind of things.

In all of his classes, whatever they were, the formation of the human being, the social function and the relativity of everything were always present.

In the lessons of perception he sought to make us to understand the relations between sounds. - Music is not memorization, but understanding. And understanding can be non-verbal. You have to listen and to understand. But I cannot explain those relationships in words, just because it is 226 something not verbal. Pay attention. People give up to understand the relations between KOELLREUTTER - the music revolutions of a Zen master emanuel dimas de melo pimenta 2 0 1 0

things because they do not pay attention, and get quickly discouraged. Understanding is only to be free and attentive.

John Cage, Aria, 1960 Musical analysis was something fundamental for him; something that should be taken as an essential element not 227 only by composers but also by performers, teachers and, finally, by anyone else. KOELLREUTTER - the music revolutions of a Zen master emanuel dimas de melo pimenta 2 0 1 0

- Many times, you know an interpreter for the score, if it is annotated or not, and how the annotation is – the musician’s musical calligraphy. I mean, what was the energy he spent to analyze and to understand the process.

Another key element was the style. Typically, people took – and many still take – the word style as something pejorative, negative. That is, they consider that the style is a kind of prison, hindering free expression. Nobody wanted to play in this or that style, and when someone had a unique style, was seen as stylized as caricature.

But for Koellreutter, the question of style was central, without which it wouldn’t be possible to know a great composer or a great performer. 228 - All serious composers, all composers with value, honest, have a style. The style is linked KOELLREUTTER - the music revolutions of a Zen master emanuel dimas de melo pimenta 2 0 1 0

to honesty. Sometimes there are people who question it, but it is the reality. The style of a person is like your handwriting, like your fingerprint, like their way of walking. Only when we know this kind of fingerprint identity, we begin to understand the design of the composer, his great work. Generally, each composer has one work that is, in some sense, the synthesis of his life. A work that bring in itself all the elements of his style, of who he is. For Beethoven, it was the Piano Concerto No. 1 in C Major, opus 15; for Franz Schubert, his eighth symphony in B minor, unfinished; for Claude Debussy, his formidable Jeux; to Gustav Mahler, the second movement his Fourth Symphony.

229 When I asked him about Das Lied von der Erde, the Song of the Earth - and I especially loved a recording with KOELLREUTTER - the music revolutions of a Zen master emanuel dimas de melo pimenta 2 0 1 0

Kathleen Ferrier, Julius Patzak and direction by Bruno Walter – he replied: - It’s a great work, but it doesn’t synthesize the life of Mahler, his genesis. You can even say that in your point of view the Song of the Earth is the synthesis of Gustav Mahler’s thought. But I’m not talking about points of view. I’m talking about analysis. When we analyze the sequence of cadences in the disintegration of the principle of tonality in that movement, we have the most complete construction of everything he did, before and after. It’s a mystery how it happens. But in general, every great composer has a great work, which is present in all others, as it were, in a sense, the image of his thought.

230 And when we talked about Gustav Mahler, we spiritually traveled to Vienna, to his beautiful wife Alma, KOELLREUTTER - the music revolutions of a Zen master emanuel dimas de melo pimenta 2 0 1 0

considered by many the most beautiful woman of her time; to Oskar Kokoschka, the great painter and her lover; to his despair and death. - Mahler knew exactly he was going to die. Nothing else existed for him.

And we listened to the adagio of his unfinished tenth symphony.

Hans Joachim Koellreutter, Tanka II, 1972

231 KOELLREUTTER - the music revolutions of a Zen master emanuel dimas de melo pimenta 2 0 1 0

In the classes of counterpoint, we had to dig in and understand with deepness the method of different medieval composers, as if our work was to decipher their logic and to rebuild the musician. Only in this way, penetrating his soul, we could understand his dilemmas, his anxieties, and the questions of an epoch.

If we were writing something like Guillaume de Mauchault, for example, we should go beyond to understand how he thought – we should in some way to become part of his thought.

Koellreutter dictated, patiently, line by line the rules of composition by Machault or Palestrina, among others. We had to understand all those relations and to compose pieces as they did.

232 Then Koellreutter patiently corrected all errors, pointing out the relationship between the notes, the system KOELLREUTTER - the music revolutions of a Zen master emanuel dimas de melo pimenta 2 0 1 0

as a whole, always extremely challenging, along hours and hours.

Some times I thought we were back in time, as if we were in a medieval monastery with the master, patiently correcting the slips of the student. - It is not possible for you to go back in time. Today, we are all other human beings, different. It is impossible to think like Machault, Josqin des Prés or Palestrina. But they left us rules, tracks, vestiges. From them we can imagine that world and, in a sense, we can rebuild it in imagination. Follow the rules, which for them were the order of the world. With them, understand that music. It is not easy.

Sometimes they were extremely tiring exercises, which 233 took hours and hours and that seemed to never end. He was correcting, severely and strictly, up to the smallest detail. KOELLREUTTER - the music revolutions of a Zen master emanuel dimas de melo pimenta 2 0 1 0

So it also happened the exercises of harmony. Everything was a lot of work and action, at all the time.

When a series of lessons ended, we were all exhausted. When the lesson had only one student, as it was my case in composition, counterpoint as well as in other disciplines, sometimes the lesson ended but there was still much work to do. When this happened, I changed to another classroom and Koellreutter started another lesson to different group or student. When he finished, he came to check in what point I was. This did not happen only with me but also with other students. He put everyone to work and was extremely dedicated to each one.

Koellreutter had been a great flautist, recognized around the world. He had been a student of the legendary 234 Marcel Moyse, and classmate with Jean-Pierre Rampal. KOELLREUTTER - the music revolutions of a Zen master emanuel dimas de melo pimenta 2 0 1 0

Like Rampal, he represented a direct line with the genial Paul Taffanel, considered the founder of the French school of flute, still in the nineteenth century.

I began studying flute in the second half of the 1970s with a teacher of the Italian school. At that time and in the conditions I had to study, I still was not able to distinguish the profound difference between the Italian and French schools for flute.

I believe that my first teacher – though he became a conductor with some recognition – was also not able to distinguish them.

In the Italian school, we block the glottis and strongly tense the muscles of the face. Everything is tension. The flow of air acquires pressure and speed by reducing the opening 235 lip. KOELLREUTTER - the music revolutions of a Zen master emanuel dimas de melo pimenta 2 0 1 0

In a radically different way, French school works everything naturally, by relaxing the facial muscles, releasing the glottis and hard working the diaphragm. In the French school, everything is distension. The airflow picks up speed through the work of the diaphragm and the sound quality is designed by the accuracy of the form of the opening lip.

They are totally different ways of playing the same instrument. In the Italian school, the sound is “small”. In the French, the sound is full of harmonics acquiring a magnificent body, what we call round and it can be heard over long distances, even when it is played piano.

As a terrible and tragic accident in my life, I studied my first two years of flute following the Italian school. Mechanically, I arrived to develop well, but the sound was 236 terrible, hopelessly small. KOELLREUTTER - the music revolutions of a Zen master emanuel dimas de melo pimenta 2 0 1 0

One day I met a great master: Demétrio Lima, who taught according to the French school.

Demétrio essentially is a jazz musician, a great musician. It was said by everyone that the first requirement of important composers like Burt Bacharach was to have him as head of the orchestra when they went to Brazil.

I studied with Demétrio before starting my lessons with Koellreutter. I was desperate when I met Demetrius – who was also called, in humorous tone, in the jazz world of São Paulo as Satanas, because he had his head shaved.

I noticed that something was going wrong.

On the first day of class, Demétrio was extremely hard 237 with me. He showed me the great differences between those schools. But, I would be obliged to submit myself to a long KOELLREUTTER - the music revolutions of a Zen master emanuel dimas de melo pimenta 2 0 1 0

process of muscular deautomatization, exercises to erase the memory of the body.

Along an entire year, I was obliged to stop playing and to start over again with painful daily exercises to eliminate the vices. For several months I was forced to do strenuous exercises in front of a mirror, using only the mouthpiece of the instrument.

It was terrible, but I will always be grateful to him.

238 KOELLREUTTER - the music revolutions of a Zen master emanuel dimas de melo pimenta 2 0 1 0

7

At that time there were not many flutists who dominated the French technique school in Brazil. Koellreutter not only dominated as he had learned from one of its greatest ever exponents: Marcel Moyse. When he knew that I played according to the technique of the French school, he was a little surprised.

When I met Koellreutter he no longer taught flute and no longer played in public that which had been along his whole life his main instrument.

239 Only few years later I had particular orientations on flute interpretation, but they were especially directed to analysis. KOELLREUTTER - the music revolutions of a Zen master emanuel dimas de melo pimenta 2 0 1 0

For him, everything should be interrelated. The classes of composition, counterpoint, analysis, functional harmony, perception, or orientation on flute interpretation among other disciplines should always be focused on the understanding of music as a nonverbal language.

The rules that normally fundament musical disciplines only made sense if they were discovered as lived reality. Otherwise, they would always be only rules in a text, without much value.

We all had to keep in mind that we should always to live our work, to experience it in full. And that work, in the sense of labor, of elaboration, was music – but that experience depended on the reality of each one. - What is the meaning of the so-called European 240 classical music for a society like Brazil today? That music was developed over centuries in a KOELLREUTTER - the music revolutions of a Zen master emanuel dimas de melo pimenta 2 0 1 0

very specific reality, which was also developed in a very specific way. Brazil is a mixture of societies, and it has a heavily acoustic population, very oral. European music just does not make sense in this context. It can be performed as something exotic, but it is not part of the roots of most people here. Brazil, like India, is another world. It is a different reality. Even so, there are people who do not seem to realize this and continue imposing the teaching of music in schools and conservatories as if we were in nineteenth-century Europe. Everything changed. That music has almost no value here. Its value is, many times, the superficiality of the kitsch. This does not mean to say that we don’t have method and that such method cannot be developed here. It also 241 doesn’t mean to advocate a nationalist music. Even today’s Europe is no longer that of two KOELLREUTTER - the music revolutions of a Zen master emanuel dimas de melo pimenta 2 0 1 0

or three hundred years ago. We are talking about consciousness and education, not about nationalism, but about reality. – he said in a critical tone that accompanied him until his last days.

So, is the music of concert condemned? I asked. - Of course! Of course it is! People are different. Even if symphonies, chamber music, that is, the called old erudite music will continue to be played in theaters, everything will be different, people are different. Before, it was the revolution of its time. Now it is the image of another time.

Since the early years of our joint work, I as student and he as teacher, we established the commitment to have lunch 242 together at least once a week. KOELLREUTTER - the music revolutions of a Zen master emanuel dimas de melo pimenta 2 0 1 0

When I went to Europe in early 1986, our lunches continued to happen, usually every time I visited Brazil.

Curiously, he never got used to the universe of computers. In a sense, this also happened with John Cage, although John always had a computer in his room with which he worked. But they never managed to write extensively with computers or synthesizers, and never developed digital systems, like what happened with René Berger – who was a master of the cyberworld by the end of life, then ninety-five years old.

In fact, Koellreutter had much less involvement with digital systems than John Cage. In the case of Koellreutter, such involvement was practically zero.

I arrived at his apartment, in the São Luiz Avenue, 243 and the fear in relation to urban violence was already widespread. KOELLREUTTER - the music revolutions of a Zen master emanuel dimas de melo pimenta 2 0 1 0

Koellreutter himself was assaulted a few times in front of the building where he lived.

Emanuel Pimenta, Concert for large ensemble, 1982

In the early times, the doorman, who watched the building, was permanently hidden behind a door in front of 244 the elevators – very old, made in wood – which were located at the bottom of the entrance corridor. KOELLREUTTER - the music revolutions of a Zen master emanuel dimas de melo pimenta 2 0 1 0

When we entered in the building – which had a beautiful lobby – the doorman was controlling, hidden, as if he was always ready to flee.

We entered and no one appeared. We were stopped there, until the doorman asked, still hidden, who we were and what we wanted. We had to give him the requested information, he phoned the apartment of Koellreuter and got the authorization so we could go – all done very loud.

The elevators were regularly locked to work only with an operator. The doorman, who always made an ugly face because of the fear, was also the operator, controlling as he could the movement of the building.

The man was always terrified. 245 Every time I arrived at the floor where Koellreutter KOELLREUTTER - the music revolutions of a Zen master emanuel dimas de melo pimenta 2 0 1 0

lived, I rang the bell and gave four or five steps back.

There were four apartments per floor, his door was at left and, as was common in old buildings, the hall was very large.

I always gave those four or five ritual steps back and was waiting. It was a curious formal care that I had and that was happening naturally.

Ritually, even having already been warned by the doorman that I was there, he always took a long time to open the door – the clear impression was that he expected me to touch the bell and waited those long moments until he opened the door, as a kind of preparation. And it always happened in the same way.

246 Our relationship was characterized by great formality, which many could even consider as a sign of coldness, but it KOELLREUTTER - the music revolutions of a Zen master emanuel dimas de melo pimenta 2 0 1 0

was designed by a profound affection for both parties.

As soon as he opened the door we could see on the lateral wall at the right side a big empty space reserved for signatures of important people who entered there. - Margarita’s idea. - he said with pride.

More than Koellreutter, Margarita Schack, his fourth wife, was a formidable master on public relations, in addition to being an outstanding mezzo-soprano.

There were signatures of musicians, artists, thinkers, scientists and artists like as Maurizio Pollini, a great friend of Koellreutter, or Abraham Moles, for whom Margarita had organize some international meetings and debates in Rio de Janeiro, among many others.

247 The wall was full of signatures and funny messages. I put mine there, I think in 1981 or 1982. KOELLREUTTER - the music revolutions of a Zen master emanuel dimas de melo pimenta 2 0 1 0

The apartment was Germanic and austere. Just very little furniture. Only a sofa at the entrance, a small round table in the back room, a beautiful half grand piano in a small contiguous room, a small bookshelf where it was also the telephone, very thick and comfortable beige carpet throughout the apartment.

Before the two rooms, there was a small living room with red furniture, small sofa, quite hard, as that of the living room at the entrance, some books and a tiny central table. Later, he started to call this small room the Kremlin.

In that small room, adapted as a kind of appendix of the home, which Koellreutter liked to use to read books or newspapers in silence, there were dozens of plush puppets, a little everywhere. He loved them. When some began to 248 disintegrate, for some reason, he profoundly regretted: - He will die! He has cancer!... Such is life... KOELLREUTTER - the music revolutions of a Zen master emanuel dimas de melo pimenta 2 0 1 0

Over the years, I gave him several very funny plush puppets. I realized that those he liked most were the most expressive, the curious, the unexpected. They were also, of course, those most attracted my attention.

A little everywhere, I was discovering the funniest puppets and increasing his collection. - Emanuel, you perfectly realized the spirit of my collection. They are great friends of mine. – speaking full of humor.

I wondered what would be the reaction of those serious men, important authorities, presidents of the most diverse institutions if they saw him surrounded by those colorful puppets. They would certainly say that he was not in full possession of his reason. But, all the way, it would not be 249 new. It was something he had been accused almost all over his life. KOELLREUTTER - the music revolutions of a Zen master emanuel dimas de melo pimenta 2 0 1 0

The truth is that for Koellreutter everything was pure philosophy. He surrounded himself with puppets, as it could be anything else. For him, in certain sense, everything had life; everything was memory and also part of the flow of transformation that is the existence.

Emanuel Pimenta launching his second book at the Biennale of São Paulo, 1981

When he took a stone, he questioned himself about 250 the degree of consciousness, about the memory that was there. KOELLREUTTER - the music revolutions of a Zen master emanuel dimas de melo pimenta 2 0 1 0

- We see the stone as immovable things just because we look at them too quickly. If we could see them over thousands of years, we would be surprised.

One of his most dissimulated concerns was related to health. He simply never got sick. But he was very attentive, concerned with prevention.

Even so, one day virtually all students in one of the classes had caught a violent cold. But he, despite the fact to be always with us and to be much older, was always great. I asked him, when a class had ended, what was his secret, why he never got sick. - It is very simple. I simply cannot get sick. Just this. When I was young and lived at home with my parents, I was always catching colds 251 and flu... like everyone else. But when I had to change and to assume serious compromises, I KOELLREUTTER - the music revolutions of a Zen master emanuel dimas de melo pimenta 2 0 1 0

simply left to get sick. That is only this. When people can get sick, they got sick. Who truly cannot, is not.

His stoic statement would certainly blush many doctors, but it was full of practical wisdom, of a long experience of life.

After we had traveled throughout the entire ritual, he opened the door, and we headed for the small reading room, the Kremlin. There were already prepared two very small cups, a cold bottle of whiskey and also some iced chips.

He put very little whiskey in each glass, almost nothing. We ate one or two sheets of iced fried chips each one, no more. That was not time to eat or to drink, but a symbolic moment, like a ritual. 252 The potatoes and whiskey were not important. The KOELLREUTTER - the music revolutions of a Zen master emanuel dimas de melo pimenta 2 0 1 0

moment was.

He had the curious habit, both in São Paulo and Rio de Janeiro, to keep bottles of whiskey and packages of snacks and crisps in the refrigerator.

We talked about many things, but more regularly on behavior, politics, education and scientific discoveries.

For him, Germany and Japan were the most similar countries in the world, in terms of social behavior.

He explained that in Japan everything happened by consensus and therefore a small decision could take many years to be adopted.

Discussions on behavior included politics, of course. It 253 is possible to exist a true anarchy? What is education? There are, indeed, social or knowledge developments? When KOELLREUTTER - the music revolutions of a Zen master emanuel dimas de melo pimenta 2 0 1 0

we deal with social issues, are we dealing with genetic or behavioral questions?

I asked if he had already used drugs, and how the social behavior in relation to drugs was in Japan. - I do not take drugs and never took them. It is not my case. I always had a lot of work to do. Not much time for fun. There may be people interested on discovery of other states of consciousness. In my case, on music, I think I already have plenty to work about it... and we always work with a social function. The Japanese are very critical in relation to drugs. But this happens especially in relation to drugs from other places. There they have theirs. They do not accept drugs from other places, because for the Japanese, the drugs are part of 254 rituals, part of their culture. It is not something for fun, for entertainment. The role of drugs KOELLREUTTER - the music revolutions of a Zen master emanuel dimas de melo pimenta 2 0 1 0

in Japan is very different from what happens here, for example.

I asked him what he thought of people who used drugs. I did not use, but I imagine that several of his students had used and I was curious about whether he would make a moral judgment. - Well, my friend, in life everyone does what he or she wants. But if we take drugs, would we be able to achieve a greater complexity of thought? I think not. At least for now. We never know about the future. We do not know if one day a different drug will be invented. But everything I’ve seen about drugs until now, seems to reduce the complexity of thought.

Koellreutter seriously suspected about the conventional 255 criteria of evolution, the so-called progress. KOELLREUTTER - the music revolutions of a Zen master emanuel dimas de melo pimenta 2 0 1 0

In some cases, evolution existed; it was clear and obvious, as what happens with technological systems in the area of communication, for example. But they did not summarize the human being in all his complexity and did not necessarily mean human progress. - It is true that mortality rate has decreased. It is also true that the rates of life expectancy had increased. But would this necessarily mean that we become more human, that is, more civilized? I have serious doubts about that.

For him, in some aspects, a poor population could, possibly, manifest more elements of civilizational evolution than a materially rich society. Even so, he never presented these questions as conditions closed in themselves. The issues emerged as challenges for all us. - We cannot stop questioning. – he always 256 argued – When we talk about civilization, what we mean by that? Is that we are able to KOELLREUTTER - the music revolutions of a Zen master emanuel dimas de melo pimenta 2 0 1 0

consume more? Is it just that?

Koellreutter lived near to great personalities. In our meetings full of curiosity, I wondered how those people were. How they were as human beings. How could he describe what they were in the intimate relationship, being among friends. - Ravi Shankar is a saint in India. He is a person with an incredible magnetism. But a simple person ... Octavio Paz was a great friend, a person of great culture and an excellent human being, with an exceptional humor and unique culture. We were always together in India ... Luigi Dallapiccola was one of my best friends for many years, as well as Arthur Schnabel. Both of them were very friendly and affectionate. I liked very much them ... Pierre 257 Boulez is playful, never stop making jokes, he always has a wonderful mood. He is always KOELLREUTTER - the music revolutions of a Zen master emanuel dimas de melo pimenta 2 0 1 0

telling jokes ... Stockhausen is very intelligent, but he has a difficult temperament.

Of course, I did not make a list of questions and he went on describing people. I asked at random, a lunch or a meeting, about how those figures were while human beings, how they behaved.

I once challenged him to write a book about his life. He had lived in India, had been a friend of Ravi Shankar, lived in Japan, lived closed to Tohru Takemitsu, he knew Stravinsky, he lived with Picasso in Paris!

We were returning from a lunch, I had left my car in a parking next to the Institute of Architects of São Paulo. We walked to his home when I did the challenge. He laughed as if it was a complete absurd. I insisted. He stopped, looked at 258 me seriously and said: - I?! Writing a book about myself? Never! KOELLREUTTER - the music revolutions of a Zen master emanuel dimas de melo pimenta 2 0 1 0

- But why not? It would be important not only for your students, but also for many people. - My friend, a biography is always false. When someone writes about himself, he is writing about he wants to be true and not about what actually happened, for more serious and rigorous the person is. Simply it has no value. Even as a portrait of an era, it will be something empty, futile. The only way anyone can write about his own life is when he is not thinking about it. For example, when he writes letters. With letters, the person participates in a dialogue with the Other and, therefore, is honest. I’ve done this, right now, with the publication of my correspondence with Satochi Tanaka. - But! Even so... having you so many experiences! 259 Why you don not write a book? If the person knows about such weakness, it is possible to KOELLREUTTER - the music revolutions of a Zen master emanuel dimas de melo pimenta 2 0 1 0

avoid it. - Don’t worry, one day you will write a book about me. But not while I’m alive... - Why? It is important that your thought expand! To be accessible to more people. What we think, our work, should not be considered as merely personal things. In fact, they do not belong to us... - It’s true. You’re right under one point of view. But what you’re saying would not be my life, what really I am. It would be false. It would make no sense if written by myself. It would not be consistent with my way of thinking and thus, it would be impossible. I never talk about my personal life… it doesn’t interest me. The only thing that interests me is the work… everything else is an illusion. But in the future, 260 when I will no longer be here, when I die, you will write a book about me. KOELLREUTTER - the music revolutions of a Zen master emanuel dimas de melo pimenta 2 0 1 0

He said that more than twenty-five years ago, in 1983, a Saturday afternoon, when we walked quietly along São Luiz Avenue, arriving at his apartment.

In some sense, the controversial Georges Bataille’s phrase – «I write to erase my name» – could also have been told by Koellreutter.

261 KOELLREUTTER - the music revolutions of a Zen master emanuel dimas de melo pimenta 2 0 1 0

8

In the beginning, our meetings for lunch usually took place on Saturdays, at the German restaurant, where the center of the city was empty. After lunch, we usually walked in silence, side by side, for some minutes.

The book published with the letters between Koellreutter and Satochi Tanaka, a professor of German at the Meisei University, in Tokyo, is entitled Aesthetics - The 262 Pursuit of a World Without ‘vis-à-vis’. It was also released in Japanese, in Tokyo, and clearly indicates his ideas on aesthetics. KOELLREUTTER - the music revolutions of a Zen master emanuel dimas de melo pimenta 2 0 1 0

Both editions were launched almost simultaneously in Brazil and Japan in late 1983.

Very discreetly, at home, I came to review the Portuguese version of several passages of the book. «Do not tell to anyone I’m showing you this text before the publication», alerted him. Koellreutter had a huge concern with the translation. We sat in the small reading room, the Kremlin, he showed me a sheet of paper with one sentence. He asked me to read. Then he explained what he meant in German. All languages have their tricks, and we spent a long time exchanging ideas as to find the best words.

In one of the letters to Tanaka, dated of April seven 1975, Koellreutter said: «We do not know whose of the values of the human heritage, inside a universal culture, will 263 be permanently integrated. This will depend on the ideals and goals that each person will have in the future. It is certain, KOELLREUTTER - the music revolutions of a Zen master emanuel dimas de melo pimenta 2 0 1 0

however, that a future universal culture will merge cultural values of East and West in a dynamic game: introversion will be compensated by extroversion and vice versa, subjectivity by objectivity and automation by the fructification of creative forces. In this way, we will come closer to a structure of thought whose essence may be the Integrating Paradox».

Revealing a deep skepticism about the ideas of the German master, Tanaka Satochi respond saying that «your idea of a global and universal culture sounds, in fact, very seductive. As Japanese, it seems me illusory, the illusory thinking of a European who sees the future of the Western culture and civilization with skepticism and demands a solution from the East. You are of the opinion that we do not know what values of the human heritage will be integrated into a universal culture, and that will depend on the ideals and objectives human will propose for the future. As for 264 me, I think it will again be the Western world, and not the individual, to determine the ideals and future goals. I am KOELLREUTTER - the music revolutions of a Zen master emanuel dimas de melo pimenta 2 0 1 0

also convinced that the Japanese, once again, will be in the disposition to follow the Western proposals. But this culture, ultimately, will be Western again, and not universal...».

But Koellreutter never thought about something like “to find solutions in the East” – as he later remarked in a conversation with me.

He was guided by the principles of thermodynamics. On the other hand, Satochi Tanaka established a real barrier against the possibility of the emergence of a world without vis-a-vis, as proposed by the German composer.

While Tanaka acted as a Japanese, Koellreutter thought like a Brazilian.

Only who lived in Brazil can understand what is to be 265 a Brazilian. “To be a Brazilian” means to have no nationality and to belong to all others. Everything is incorporated. All KOELLREUTTER - the music revolutions of a Zen master emanuel dimas de melo pimenta 2 0 1 0

cultures, all experiments. A Brazilian is, by definition, a citizen of the world. Each person who arrives in Brazil, immediately outside the airport, it potentially is a citizen. I say inpotential way because, of course, there will be resistance of all kinds. But this is the principle.

When Koellreutter wrote his letters to Tanaka, he did not think as a German, a French or even as an American. He was Brazilian and free – and therefore he was also Japanese, probably as Japanese as Tanaka, who was not able to see, over all the letters, how it could be possibly.

When the book came out, I received one of the first copies, with a dedication: «To my friend Emanuel, with a big hug from Koellreutter». The publication was very poor, with poor paper and cover, and I did not fail to comment with him about that. 266 - My friend. There is no money! Nobody is really interested on such things. We are a very small KOELLREUTTER - the music revolutions of a Zen master emanuel dimas de melo pimenta 2 0 1 0

part of the world. Moreover, a part that is smaller and smaller.

When I came to ask him again about the intransigent position of Tanaka, defending the impossibility of an integrated world, he replied briefly: - See how the world is. Very interesting. All this is very interesting.

Saloméa Goldelman, who was also responsible for the preface, brilliantly made the translation and the edition of the book. The texts and proofs came and went, all the time. Every line, every expression, everything was thought, challenged, to not allow misunderstandings. Especially for her, exhausting months were filled with small and subtle changes. Koellreutter was almost seventy years old and the book turned out to be a kind of discreet testament about his 267 ideas. KOELLREUTTER - the music revolutions of a Zen master emanuel dimas de melo pimenta 2 0 1 0

At that time, in one of our lunches, I asked how the experience of having lived at Pablo Picasso’s home in Montmartre, Paris, had marked him. - I was a young flutist, and traveled widely in Europe. We had no money and no place to stay. The life of a young musician is never easy. At that time, in Europe, it was common to stay at the home of artists, which yielded a room or sometimes just a sofa so we could sleep. The reality of the world before the Second World War was very different from what we have today. Everything changed with that war. I was very young. Picasso was a great man, a master. He did not need to speak to be a source of knowledge for us. He was a very special person. His eyes were very bright. One morning when I woke up, I saw he was painting a canvas. It was 268 placed next to the window and was covered with small colored rectangles. Every day in KOELLREUTTER - the music revolutions of a Zen master emanuel dimas de melo pimenta 2 0 1 0

the morning he looked out the window, which opened to the unforgettable scenario of Paris, and painted just one rectangle. I realized that he did it every day. He painted always just a small rectangle. Each one with a different color. I asked him what he was doing. That was very strange to me. I did not understand what those little colored rectangles were. He told that he was painting the time. He explained that he painted just one small rectangle everyday day. Each rectangle was a tile view from that window in Montmartre. ‘Every day the light is different, the colors are different, each day is different and we see everything differently’. Picasso worked to capture the essence of time. His work is a representation of the concept of relativity by Hermann Minkowiski and 269 also, of course, by Albert Einstein. This is the principle of the Synthetic Cubism. Sometimes, KOELLREUTTER - the music revolutions of a Zen master emanuel dimas de melo pimenta 2 0 1 0

even today there are people who think that “cubism” means “cubes”, something made with “cubes”. Indeed, cubism is to work with the fourth dimension, with time».

Time was the most precious thing for him. In his conception of living everything could be dramatically changed by time.

He did not drive cars. When I heard about that, it was strange for me. Why he had never learned how to drive? - People have standard ideas, stereotyped, for all things. While for you a car can be a saving of time, for me – with this life of constant travels from one place to another – it would be time consuming. And I do not have time for these 270 things! KOELLREUTTER - the music revolutions of a Zen master emanuel dimas de melo pimenta 2 0 1 0

Hans Joachim Koellreutter - photo by Emanuel Dimas de Melo Pimenta in São Paulo, in 1999 In another of our lunches, he told me an interesting story about the nature of time. - I was returning from abroad, I think it was a trip 271 to India many years ago, I think it was in 1954. I lived in Salvador and directed the Music School KOELLREUTTER - the music revolutions of a Zen master emanuel dimas de melo pimenta 2 0 1 0

of the Federal University of Bahia. But, you know, academic environment is terrible. There is always someone cheating, there are always pitfalls, coups, politics in the worst sense of the term. When I arrived in Salvador, as soon as I landed, someone commented to me, in the airport, asking if I had seen the terrible news in the local newspaper. I was arriving in that moment. I could not know anything. I looked to find the newspaper. There was the news: Koellreutter summarily dismissed by the rector. It was very serious. I had participated in founding the School of Music... You cannot imagine. It was a big scandal. I thought a bit and decided not to go home. Very discreetly, no one could saw me, and I went hidden in a hotel of the city. I was locked in my room for 272 three days. I did not leave that room. I ate there. I was totally closed. I have not spoken KOELLREUTTER - the music revolutions of a Zen master emanuel dimas de melo pimenta 2 0 1 0

to anyone. Nobody knew where I was. It was clear to me. Someone had placed a false article in the newspaper. With that news, the person hoped that I would create another scandal, giving no chance for the rector but obliging him to really dismiss me. If I’d appeared at that moment, the scandal would be amplified. Gossips ran fast. So, I decided to disappear for three days. They even put the police to find me. In those three days of silence, the whole reality has changed radically. When I left the hotel, I talked directly with the rector, and it quickly became clear and rebalanced again. It was just a ‘misunderstanding’. In fact, I knew it was not a simple ‘misunderstanding’. I had to ‘work’ the fabric of Nature with that silence. There was no emotion. Only silence. And the 273 silence together with time has changed the reality. Time changes the reality». KOELLREUTTER - the music revolutions of a Zen master emanuel dimas de melo pimenta 2 0 1 0

That was Zen face a strong feature of their behavior. Koellreutter was able to sit still for that time to change reality. But that does not mean he was not a nervous person.

Over the years, I was noticing that, in fact, he had some moments of great tension, in most cases imperceptible to those who did not live closer to him.

One of the rare signs was the fact to insistently gnaw half of the nail of the ring finger of his left hand. Once, I asked if he thought himself as a nervous person. - Well, what a question! I am a person like any other. Everybody has nervous moments, even a Buddhist monk! It’s the human nature, just that.

274 I noticed how he lived alone. Margarita was internationally acclaimed and often traveled in tours around KOELLREUTTER - the music revolutions of a Zen master emanuel dimas de melo pimenta 2 0 1 0

the world. Always when we met each other for lunch, especially on weekends, he was alone. I even asked him why he was always so lonely. - My friend, my home is in Rio de Janeiro!

His dedication to the students was such that we often forgot that he did not live in São Paulo, but yes in Rio and that he were in constant transit between São Paulo, Belo Horizonte, Curitiba and sometimes also Salvador and Belém.

I met two of his sons, very briefly – one who lived in Salvador working with tourism, and the others, who lived in Rio de Janeiro and was a journalist. But meetings were very quick.

Along years, Koellreutter was not only my master but 275 also my best friend. KOELLREUTTER - the music revolutions of a Zen master emanuel dimas de melo pimenta 2 0 1 0

In 1983, I was his assistant for courses on aesthetics and collective composition at the Solar do Barão Cultural Center, which had just been opened after a great restoration work of the building.

In that epoch I no longer worked on marketing. I studied architecture and urban planning, I was free lance photographer, I wrote for newspapers like O Estado de São Paulo, for the music magazine Som Três with the famous critic Maurício Kubrusly, for the architecture magazine Projeto, I gave lessons and was assistant at the university on Semiotics. Excepting photography, all rest was directly related to music or to architecture.

As always, the experience in Curitiba was unforgettable. There were very talented students of all kinds, arriving from the most different places. 276 The entire course on collective composition was based KOELLREUTTER - the music revolutions of a Zen master emanuel dimas de melo pimenta 2 0 1 0

on the method, on how to establish principles of order, differentiation, dynamically working in teams. To have the consciousness of the unity, of totality, to design relations of quality, and to deal with monotony were the essential elements of the lessons.

Emanuel Pimenta, Concert for Frogs and Crickets, 1984

277 Koellreutter believed that Brazil could be a unique country all over the world to develop collective composition KOELLREUTTER - the music revolutions of a Zen master emanuel dimas de melo pimenta 2 0 1 0

strategies, in several areas.

In musical terms, collective composition means the same piece being elaborated by several composers simultaneously – what requires great discipline, method, team spirit and openness.

It was not very easy to find people who accept and clearly understood the principles of collective composition.

Many simply refused outright those principles, arguing that if the composition were collective there would not be a composer to be positively or negatively criticized and, therefore, a musical work would not exist. - Do you think that is hard for people here to understand what collective composition is and its importance? In Europe it is much more 278 difficult. – Koellreutter commented excited – The collective composition may not only KOELLREUTTER - the music revolutions of a Zen master emanuel dimas de melo pimenta 2 0 1 0

be an interesting principle as a method of composition in itself, but also and perhaps the most important, it is a good way for people to learn from each other. When people will aware of it, the world will become richer in experiences. Sharing is the essence of collective composition.

In general, Koellreutter’s ideas seemed to be almost always anchored in great universal principles.

He used with great mastery short and remarkable sentences, as did Marshall McLuhan. And they were always of great impact.

Statements like “only difference produces consciousness”, “the dead man is always guilty, never the 279 murderer” and “the Occident is an accident” among many others established principles around which real thesis were KOELLREUTTER - the music revolutions of a Zen master emanuel dimas de melo pimenta 2 0 1 0

built and supported the development of thought on music. - Napoleon Bonaparte correctly said: “Only what is monotonous can provoke emotion”. Without monotony, there is no emotion. Bonaparte was not a simple military, neither a simple politician, as many times people think today. He was a great man, a true statesman. In a sense, his face as philosopher, as lover of the arts, was totally eclipsed by History. He was a man of great culture and sensitivity. And he was absolutely right: only monotony can truly provokes emotion.

Napoleon Bonaparte’s statement – largely discussed during the nineteenth century, but fallen into obscurity over the next century – gave rise reflections and debates with the hearing of various fragments of musical pieces and the 280 appreciation of paintings by some well-known painters – old and contemporary. KOELLREUTTER - the music revolutions of a Zen master emanuel dimas de melo pimenta 2 0 1 0

Each time he was referring to the famous statement of Napoleon Bonaparte – whether in that course of collective composition, in the classes on aesthetics, in lessons about the music of the twentieth century or during the composition classes – it immediately triggered a big discussion about the nature of monotony and also about emotion.

In different courses, Koellreutter many times recalled the principles of Claude Shannon’s Theory of Information, and furnished to the students theoretical resources on how to establish principles of communicability. - Communication is always essential. If there is no communication, there is no understanding, comprehension, and therefore there is no work.

Claude Shannon was an American electrical engineer, 281 who lived between 1916 and 2001 – a contemporary of Koellreutter, considered the father of the Theory of KOELLREUTTER - the music revolutions of a Zen master emanuel dimas de melo pimenta 2 0 1 0

Information.

Shannon said that «information is the resolution of uncertainty».

During those days in Curitiba, I made two exhibitions. I was curator of an exhibition of graphic scores with works by several composers including John Cage, Karlheinz Stockhausen, Ferruccio Bussotti and Koellreutter among many others, and an exhibition with a series of my graphical scores.

The use of graphic scores began in 1950s and 1960s especially with Earle Bown and John Cage. It is a process of musical notation that opens new possibilities for the organization of sounds. Sometimes graphical notations are devalued by some musicians, more traditionalists, who 282 consider they less rigorous than the traditional notation, what is a great illusion. KOELLREUTTER - the music revolutions of a Zen master emanuel dimas de melo pimenta 2 0 1 0

Graphic music scores have been regularly used by major composers such as Tohru Takemitsu, Stockhausen, John Cage, Ligeti, Koellreutter, Bussotti or even Herbert Brün, whose work - unfortunately - I only knew years later. That is, contrarily to what some people think, graphic scores are part of the history of music.

Koellreutter, sketch for planimetric score, 1983

283 KOELLREUTTER - the music revolutions of a Zen master emanuel dimas de melo pimenta 2 0 1 0

In 1968 John Cage published a beautiful book called Notations, containing graphic scores by many composers and artists from around the world.

Emanuel Pimenta, VAC, 1994

Since the early 1980s my work has been not only to amplify the universe to four dimensions, producing music in virtual worlds - which in the beginning was quite unexpected. I remember, once, a journalist who wrote that I was “crazy 284 for the virtual world”, without knowing exactly what he was saying. KOELLREUTTER - the music revolutions of a Zen master emanuel dimas de melo pimenta 2 0 1 0

But such a work could not be reduced to the development of virtual worlds and scores. It is also the development of logical traps - that were already present at that time.

In any case, in that year of 1983 I was already aware of the importance of establishing an overview of graphic scores from many different composers. It was probably the first exhibition of the kind in Brazil.

But, an unexpected incident occurred at that public exhibition with works created by several composers from all over the world.

The person who made the small plates on cardboard with captions for the scores set wrong, unintentionally, the 285 spelling of Koellreutter’s name, writing it with only one “t” – as so often happened. KOELLREUTTER - the music revolutions of a Zen master emanuel dimas de melo pimenta 2 0 1 0

Similar misunderstandings were common not only in relation to the spelling of his name. In many places people were not able even to speak properly Koellreutter. In northeastern Brazil, for example, he was affectionately known as Korroté.

In those days, I divided myself between being an assistant in the courses of aesthetics, collective composition and music of the twentieth century, and also being curator of both exhibitions.

They were two of my first exhibitions – I had made a few ones until then – and all my energy was absorbed. Beyond all this, I was practically the driver to Koellreutter. When I came to my room at night, I was more than exhausted and had to get up very early.

286 My inexperience made that I had not noticed that error in his name. When he entered in the exhibition – before the KOELLREUTTER - the music revolutions of a Zen master emanuel dimas de melo pimenta 2 0 1 0

opening – and saw that his name was misspelled, he became furious.

I think I have never seen him so upset, so nervous. He called me in a room and asked with great irony and aggression if I had realized the disaster I had committed.

When he spoke in that way, I was perplexed and totally lost. I did not know what he was talking about! The exhibition was very well made, I had succeeded with the framing, the lighting, the contacts with the press – and there wasno money. Everything was very well organized.

On parallel with the collective composition course and the exhibitions of graphic scores, there were other courses and concerts related to the Renaissance music and to viola de gamba. Some musicians from other courses witnessed 287 that terrible reaction and were clearly impressed with his aggressiveness. KOELLREUTTER - the music revolutions of a Zen master emanuel dimas de melo pimenta 2 0 1 0

- My friend, it is over! Our relationship is over! Ended. You made a big mistake!

I was stunned. I insisted several times inquiring about what he was talking about. He refused, clearly offended. - Well, if you’re competent, you should know what I’m talking about. – he said with irony.

I was sincerely lost. I had no idea about what he was saying. I imagined being something really serious. I kept insisting, worried about what I could have done.

Long minutes later, finally, he asked if I knew how to write his name. Asked me to do it. I thought it was a joke. I could not imagine that his request would be related to exhibition. Without knowing what it was about, I took a sheet of paper and wrote his name. He saw that it was correct and 288 said: - Do you think it is admissible to have my name KOELLREUTTER - the music revolutions of a Zen master emanuel dimas de melo pimenta 2 0 1 0

spelled incorrectly? Well, see how the caption is aside one of my scores. It is missing a “t”!

I was shocked. That thunderous reaction by something so simple! I explained that a person had made the small cardboards but I assumed, as it could not be different, the entire responsibility. I tried to show him how much I had devoted myself for those exhibitions were a success. We did not have any help. There was no money. We did not have support even for the framing! Everything had been achieved with great effort and collaboration. - But you know what your responsibility is? If you do this in Europe or in the United States, your career will be definitely over. You cannot afford not to think, not to check, not to observe, not to be very careful. This was a serious oversight! Good.. my friend. I’ll give 289 you one more chance. I hope you are not one of those people who are floating in life. – he KOELLREUTTER - the music revolutions of a Zen master emanuel dimas de melo pimenta 2 0 1 0

turned and walked away.

That was really a shock. At that moment, I was deeply annoyed with him. In the heat of the moment, his reaction seemed a storm on a teacup. The small cardboard was immediately substituted and the exhibition was opened with great success.

Despite his overwhelming aggression, he was absolutely right. Many times we make a huge effort to carry out a project – an effort that often never comes to be understood by the people – and in a single instant, a small detail can knock you out.

After the “storm”, one of the evenings we all went to dinner with Jaime Leirner, then mayor of Curitiba, a close friend of Koellreutter. There were only four or five people 290 at that dinner. I was thoroughly charmed by his personality. One of my dreams, as an urban planner, was to design new KOELLREUTTER - the music revolutions of a Zen master emanuel dimas de melo pimenta 2 0 1 0

towns and I feverishly researched Paolo Soleri’s mega- estructures, studying with Eduardo Kneese de Mello and Eduardo Corona. Jaime Leirner was a simple person, open, very friendly, always with an excellent mood.

On the last day of the events Koellreutter gave a brief lecture. The room was filled with people. Everyone wanted to hear the great master.

Koellreutter’s lecture was very brief, but it captivated everyone. It was brilliant, as always. He spoke about the importance of subversion.

In the end, a man who appeared to be about sixty years old, at the back of the room, rose to make a question. In fact, that was not a question but a long and tiresome monologue. With great pomp and pretension, that person started making 291 absurd assertions as if they were the most sensational discoveries of all times, which could be summarized in a central KOELLREUTTER - the music revolutions of a Zen master emanuel dimas de melo pimenta 2 0 1 0

idea: for him all art and all music were nothing but imitation of nature, and therefore, degenerated demonstrations. «The spider web and a beehive are perfect artworks, much more perfect than any human endeavor. So, human beings should simply abandon the arts. Art, whatever, is a big silly thing, and an alienation compared to Nature». – he defended.

There was no answer, because it was not a question. Koellreutter remained silent, with a smile, neutral, and the host of the table, very diplomatically asked if there was someone in the room who wanted to comment on those assertions.

What that person had said – and especially the way he had done, in a tone of mockery and irony – placed Koellreutter in a relatively embarrassing position. The way he had done, he gave a clear understanding of the vehement denial of the 292 value of everything the German master made along his life, treating his ideas like degenerate art, because it was not KOELLREUTTER - the music revolutions of a Zen master emanuel dimas de melo pimenta 2 0 1 0

something of the people - reminding the Nazi attacks on the art of its time, but now with another ideological cover. It had been a gesture very rude and crude.

Koellreutter could not initiate a defense of his ideas, because he would be talking about himself and this would surely trigger a discussion without end. A discussion that certainly had been the intention of that person.

But no one reacted! People were simply paralyzed. The man smiled like a king full of pride on himself.

The room was taken by a profoundly awkward silence. The students looked at one another. Nobody had the courage to defend Koellreutter. It was shameful!

Why people don’t have the courage to defend what 293 they believe? But, did they really believe? How could they fail to defend a master who, minutes before, they KOELLREUTTER - the music revolutions of a Zen master emanuel dimas de melo pimenta 2 0 1 0

had enthusiastically applauded for diametrically opposed reasons?

Someone had to do something, to take action.

I got up and made brief references to Thomas Aquinas and to Aristotle, to the questions about imitation of nature as content and as process, in its modus operandi. I concluded, simply, that if the corpus of the imitation was not independent, in what we call language or culture, what we were doing there? In other words, nothing could be the thing itself and everything was, after all, metalanguage! I reinforced the absurdity of his argument – because in its content it contradicted, by its own existence as language, the use of his own words.

The man, much older than I, made a witty and ironic 294 compliment to what I had said, adding a sloppy statement on the energy of youth, “the irreverence of youth”, “I am KOELLREUTTER - the music revolutions of a Zen master emanuel dimas de melo pimenta 2 0 1 0

happy to see the impetus for young people”, or something alike. And the lecture was immediately ended.

When we left the room, Koellreutter said, not without some irony: - My friend, you’re burned. You just won a powerful enemy.

Later I would know that the man was a very important personage in the cultural scene of Curitiba. Whoever he was, I felt myself obliged to intervene. His words had set up a scenario so ridiculous and absurd as of low level. The statements of that man, who was then an important figure in the academic world, were simply ridiculous. - But, in fact, he was not making those statements. You did not notice. He was just teasing. It had no value. Not even for him. It 295 was only a silly thing. For him everything was going in the according to second and third KOELLREUTTER - the music revolutions of a Zen master emanuel dimas de melo pimenta 2 0 1 0

intentions. Thus, the silence would have been adequate.

There was one thing that was definitely clear to me: I had never had and never would have second or third intentions. Each one of my actions, over my lifetime, was just itself, in an open and clear way, to everyone.

But, even so, Koellreutter was right. The silence would have been the best attitude. None of that mattered and I had used the time of all with an unimportant consideration in response to a silly provocation.

I was very young and that moment made me think how it would be difficult to live full time in an academic environment. Why people acted that way? - For you, everything is knowledge, music and 296 architecture. For people like him, everything is politics, and only after it the love for KOELLREUTTER - the music revolutions of a Zen master emanuel dimas de melo pimenta 2 0 1 0

knowledge comes. Knowledge is there, but often as content. It’s not like a true artist who is, in himself, a work of art, but someone who imitates. Although it was a cheap provocation with no value, at heart he was being sincere. He was coherent with what he is. He doesn’t know other way of being. And you should better preserve yourself.

Everything for Koellreutter was cause for reflection and discovery.

297 KOELLREUTTER - the music revolutions of a Zen master emanuel dimas de melo pimenta 2 0 1 0

9

That same year, weeks after the courses and the exhibitions in Curitiba, he invited me to take a course in Petropolis, on upgrading and enhancing on counterpoint of the sixteenth and eighteenth centuries, functional harmony and musical analysis on Josqin des Prés, Johann Sebastian Bach, Ludwig van Beethoven and Franz Schubert.

It was an intensive course restricted to six students.

Firstly I should go to Rio de Janeiro, where I would live 298 for a few days with the Koellreutter, in his apartment at the neighborhood of Laranjeiras, studying intensively under his guidance. Then, we would go together to Petropolis where KOELLREUTTER - the music revolutions of a Zen master emanuel dimas de melo pimenta 2 0 1 0

we would meet the other students.

The first thing he did, as soon as I entered in his apartment, was to bring me to the kitchen. He opened the refrigerator and said: - Now, this is your home. You can take and use anything you want.

Those days living with Koellreutter were not just devoted to intensively study composition, but also the music of northern India, Japanese music in No theater and Zen aesthetic principles.

Koellreutter had lived for four years in India, where he founded the School of Music of New Delhi in 1966, and six years in Japan, where he met great personages of the traditional Japanese music. 299 That apartment of Koellreutter in Rio de Janeiro KOELLREUTTER - the music revolutions of a Zen master emanuel dimas de melo pimenta 2 0 1 0

was not very large. There was a comfortable living room, a balcony, three bedrooms and a relatively small kitchen.

From the balcony you could see the magnificent Corcovado, and that view was had no price for him.

The beautiful Yamaha parlor grand piano placed in the living room had been offered by the people from the neighborhood where they went to live and by the parents of students, in Japan. - It was a great surprise for us. As soon as Margarita and I arrived in Tokyo, we received, in the morning of the next day, a gift: a grand piano! It was a way for people to give thanks for our presence. It was a gift from the community. This generous spirit deeply touched us. How could we fail to give even more dedication intensively, in body and soul, to 300 our work there? KOELLREUTTER - the music revolutions of a Zen master emanuel dimas de melo pimenta 2 0 1 0

He explained that several people had bought the piano, as a collective manifestation of welcome – and such gesture would never be forgotten over a lifetime. - Sometimes there were parents of future students. Other times, there were just ordinary people who had no children. However, they believed that we would be taking some knowledge to the place and that, therefore, would be something important for everyone.

In the room there was a television set, not too big. Everything was very austere. Simple. Margarita was traveling. In front of the television, in the back of the living room, as if a small contiguous room was formed, there was a chaise long with a modern design, straight lines, intense orange color, as if made in a single block of foam. Its appearance gave no idea of comfort. But, surprisingly, it was extremely pleasant. 301 Near the chaise long, beside it, there were the sitars he KOELLREUTTER - the music revolutions of a Zen master emanuel dimas de melo pimenta 2 0 1 0

and Margarita had brought from India and loved so much.

On the other side, near the door which open to the kitchen, there was a disc player and a fabulous collection of very rare recordings – such as the legendary Indian sitarist Ustad Vilayat Khan and Nikhil Banerjee, Koellreutter’s friends, about whom I had never heard until then; the singers of ragas Ustad Hafeez Ahmed Khan and Neela Bhagwat; the genial Indian flautist Hariprasad Chaurasia; recordings the percussion ensemble Ondekoza, from Japan; or rare recordings of the Japanese composer Maki Ishii, also a friend of Koellreutter.

In those days, he asked me to make copies of books on Indian music – books long sold out. Among them it was The Ragas of North India by Walter Kaufmann, and I was studying the northern India music under his guidance. 302 Weeks before, at the classes of composition but also, in KOELLREUTTER - the music revolutions of a Zen master emanuel dimas de melo pimenta 2 0 1 0

a lighter way, at the classes on aesthetics, we devoted some time to understand the alap, the articulation of floating and interchangeable rhythmic cells, the series that characterized each raga, and various aspects of the Indian music.

Those days of intense study at his home in Rio de Janeiro worked as a true and deep diving in that universe, full of hearings. I got up early and quickly started studying, stopping only in the early evening. I did not even get out to the street.

We also studied Zen aesthetics – which in this case was the development of complex structures based on the principle of ten, chi, jin – heaven, earth, man. Everything happened as the establishment of games, where triadic relations aimed at triggering other ones in a process similar to the fractal universe. 303 I made long exercises of analysis on those relations KOELLREUTTER - the music revolutions of a Zen master emanuel dimas de melo pimenta 2 0 1 0

inside complex structures. In those exercises, everything was perception and analysis.

It was about relations also present inikebana , in haiku and in tanka – traditional Japanese poetic form especially important to Koellreutter. But, those structures were also present in the old music as well as in the traditional architecture of Japan – which, at that time, I was studying with my masters of architecture and urbanism with Eduardo Kneese de Mello and Eduardo Corona.

According to this Zen aesthetic principle, all things immediately become mantras and yantras, everything being object of permanent meditation. - All Zen aesthetics is based on symmetry breaking, because only with the symmetry breaking we have the consciousness. – he said. 304 Later I would realize that Zen nothing more is than the KOELLREUTTER - the music revolutions of a Zen master emanuel dimas de melo pimenta 2 0 1 0

consciousness, and because of this, paradoxically, it has no possible explanation. This is the nature of koans.

What we call the consciousness is like the present, yet free from the work of reason, of the explanation, but incorporated in it, being pure relation of quality. - Traditionally, the Occident aspires to the symmetry, and the Orient aspires to the asymmetry. But in the twentieth century, the evolution of science has implicated a change in aesthetics. We live this paradox between Occident and Orient, the integrating paradox. – he defended his thesis.

Often Koellreutter left in the morning to teach, and only returned in the middle of afternoon.

In addition to the studies, he allowed me to copy 305 several of his noted scores for transversal flute, which also had been sold out, as well as some of those rare recordings he had at home. KOELLREUTTER - the music revolutions of a Zen master emanuel dimas de melo pimenta 2 0 1 0

His house was like a temple for me.

He offered me copies of the scores of his two compositions for solo transversal flute. They were an Improvisation and a Study, both published in Manaus, Amazonas, dating respectively July twenty-six and twenty- seven, 1938 – certainly his first two compositions in Brazil.

306 Koellreutter, Improviso, 1938 KOELLREUTTER - the music revolutions of a Zen master emanuel dimas de melo pimenta 2 0 1 0

In one of those days, one afternoon when he came back sooner, not hiding a certain trace of bitterness, he showed me a sheet of the nationalist Brazilian composer Camargo Guarnieri, with a nice dedication printed on him. Then he showed me the exact same score with a black rectangle printed on the dedication. - Guarnieri wanted me to become a member of the Communist Party. But I cannot belong to any party! He never understood that. When I told him that I could not accept the invitation, he was revolted. He started an open war. He began saying that I was a fascist! He suggested the absurdity that I would have been collaborator of the Nazis! He tried to destroy my life. He withdrew the dedication. He printed the black band on the dedication. Or I did what he wanted, or I was condemned. Now you see how people are. I tried to explain several 307 times, but the fact that I was not able to enter in the Communist Party made him to consider myself KOELLREUTTER - the music revolutions of a Zen master emanuel dimas de melo pimenta 2 0 1 0

an enemy for life! Before, we were great friends. He did not understand that music is something higher than party divisions. When we are dealing with music, we are dealing with freedom.

We had lunches at his apartment – when he showed up for lunch – and they were always very simple. There was an old black lady, very friendly and extremely attentive working at his home, taking care of cleaning and cooking.

I already was vegetarian at that time and that lovely lady always cooked something special for me. She laughed a lot because I did not eat meat, fried foods, white sugar or sodas. She was very sweet and attentive; she worked for many years for him and Margarita.

Koellreutter and I spoke relatively little. When there 308 was not something related the lessons on composition, to Indian music, to philosophy or transversal flute, often we KOELLREUTTER - the music revolutions of a Zen master emanuel dimas de melo pimenta 2 0 1 0

stayed silent.

Even son, we always had time to talk about politics.

And he enjoyed the silence.

In the early evenings, with that wonderful view of the Corcovado, we always had some time for a drink. And, as what happened at his home in São Paulo, there always was a bottle of whiskey and snacks in the fridge. In Rio de Janeiro, in addition to the whiskey he also regularly hadCampari and dry Martini. - Music is not something one can explain. If you understand Bach’s music, for example, you will be able to play it. But if you do not understand the music, you can read very well the score you want, and nothing will work. You can correctly and quickly 309 read the score, but music will not really happen. Music is beyond what is written. The fundamental KOELLREUTTER - the music revolutions of a Zen master emanuel dimas de melo pimenta 2 0 1 0

is to understand that music can happen as melody, rhythm, and harmony or just while noise, like clouds of sounds, like anything. In any sound can be music. But not all sounds are music. Music is inside people and it is organization.

Apparently, with that statement made in a beautiful summer afternoon in Rio, he contradicted John Cage. But in fact, they said the same thing – as I also listened from Ornette Coleman many years later.

When John Cage said that everything could be music, that a noise became music in the moment we were aware of it, was exactly what Koellreutter argued.

But what apparently was strictly subjective to John Cage, for Koellreutter it could be operated objectively – and 310 it was what we witnessed with the performance of a great performer, for example, in any kind of music. KOELLREUTTER - the music revolutions of a Zen master emanuel dimas de melo pimenta 2 0 1 0

It was in one of those days that he told me, sounding very emotional and confidential, about his tragic escape from Germany.

Koellreutter had been a student of Kurt Thomas, on composition and conducting, and of the legendary and brilliant conductor Hermann Sherchen.

Born in 1915 in Freiburg, a small German town located in the Black Forest, a few kilometers from the border with Switzerland and the city of Basel.

In 1987, I visited Freiburg, going to Basel and was bristly to cross the border in the same train line he had fled about forty years before.

311 Koellreutter was a promising young flutist, formed in Geneva, Switzerland. He had studied with the fabulous KOELLREUTTER - the music revolutions of a Zen master emanuel dimas de melo pimenta 2 0 1 0

Marcel Moyse – who, with Paul Taffanel, is considered one of the fathers of the French school of transversal flute. Marcel Moyse was a student of Paul Taffanel and Philippe Gaubert.

Freiburg (wikipedia)

Studying with Moyse, Koellreutter was colleague of Jean-Pierre Rampal, seven years younger. He studied also at the Academy of Music in Berlin – where he was eventually 312 expelled for refusing to integrate a group of Nazi youth. KOELLREUTTER - the music revolutions of a Zen master emanuel dimas de melo pimenta 2 0 1 0

The life of a flutist was never easy. He constantly traveled throughout Europe giving concerts associated with various musicians, like the composer Darius Milhaud. It was in one of those occasions that he ended up staying at Pablo Picasso’s home.

He studied, in summer courses, with Paul Hindemith, from whom he retained the strongest impressions. - Paul Hindemith was great, even if we have had different paths in life. He played wonderfully well all instruments. I’ve never seen someone like him. He was a true genius. A virtuoso on all instruments! Even the transversal flute, when he played, it was perfect. He was a man who lived for the music. He devoted himself entirely to music but did not leave a single follower! However, he left many teachers. He was a generous person, but extremely demanding. 313 We surrounded and revered him as the great master he was. People from everywhere frequented his KOELLREUTTER - the music revolutions of a Zen master emanuel dimas de melo pimenta 2 0 1 0

courses. It was always a great experience.

Between 1934 and 1936 he went to Berlin, to study at the Staatliche Akademische Hochschule für Musik. There, he was student of Kurt Thomas on composition and conducting; of Gustav Scheck, on transversal flute – Scheck was one of the pioneers on the French school; of Carl Aldolf Martiessen on piano – who taught great pianists and conductors like Sergiu Celibidache; of Georg Shuenemann and also of the legendary musicologist Max Seiffert, among others.

At that time, only twenty years old, he created the Circle of Work for the New Music – Arbeitskreis für Neue Musik – that was an anti Nazi group. And he had to flee.

He went to live for a while with Hermann Scherchen, 314 his great master, in Neuchatel, Switzerland. KOELLREUTTER - the music revolutions of a Zen master emanuel dimas de melo pimenta 2 0 1 0

Many times, before the Second World War, teachers invited students to live for some time in their homes. So, they could give an intensive training. At the end of his life, Koellreutter said in an interview with Carlos and Adriano Bernardo Vorobow in São Paulo: «... Hermann Scherchen was undoubtedly the person who most influenced me, also in my character, the way I work, to intensify things. He really opened everything, he taught me to avoid preconceptions, to be open to all trends».

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Hermann Scherchen in Maxence Caron KOELLREUTTER - the music revolutions of a Zen master emanuel dimas de melo pimenta 2 0 1 0

In 2009, when I performed my concert Microcosmos – in memory of my dear friend Daniel Charles – at the theater of the Marc Chagall Museum in Nice, France, I met the great composer and visual artist Tona Scherchen, daughter of Koellreutter’s teacher. We became immediately friends and, through her, I could feel even with more energy the brightness of the great German master.

In a sense, my presence there, in his home, living those days with him, was what Hermann Scherchen had made him almost fifty years earlier. A tradition that would disappear with the war.

In 1937, back to Freiburg, Koellreutter fell in love with a Jewish girl. At that time, in Germany, almost all families were, in one or other way, linked to Nazism. And Koellreutter’s family was no exception. 316 He was telling me everything he lived, without hiding KOELLREUTTER - the music revolutions of a Zen master emanuel dimas de melo pimenta 2 0 1 0

a profound emotion. We were sitting on the balcony with the beautiful sunsets and the Corcovado in the background.

His mother had died in 1918, with the Spanish flu. The father, an otorhinolaringologist doctor, married again.

When the father and stepmother knew, they prohibited his relationship with the Jewish girl. - In the beginning we started to meet each other in secret. But soon we were discovered. It was a very small place. Everybody knew each other. My parents were very involved with the Nazis, especially my stepmother. I had an uncle who was from the Gestapo. He was from the police, but also from the Gestapo. One day, I called me at the police. He had warned me several times. I knew the situation was becoming increasingly dangerous. Then he asked 317 me if I was still flirting with a Jewish girl. I said yes. It was very serious. He told me: «Do you know that KOELLREUTTER - the music revolutions of a Zen master emanuel dimas de melo pimenta 2 0 1 0

your parents denounced you? Now, I have no choice but to arrest you. You know what that means. Now, go away. Do not tell anyone. Tomorrow morning we will arrest you». I would be taken to a prison and then I would be transferred to a concentration camp. With that warning he gave us a chance to escape. We immediately packed up and in that same night, I fled by train to Basel, Switzerland, where she lived and had relatives. We decided to get married and to go to Brazil. I got letters of recommendation from Paul Hindemith and Hermann Sherchen. It took a lot of time to go from Switzerland to Brazil. First, we had to go to England. I was only twenty- two years old. We were very young. When, months later, we got off the ship in Rio de Janeiro, I did not have a penny. Absolutely nothing. I only had the letters of recommendation that were addressed to 318 Villa-Lobos. We got a taxi and I couldn’t even speak Portuguese. The only thing I could do was to show KOELLREUTTER - the music revolutions of a Zen master emanuel dimas de melo pimenta 2 0 1 0

the envelope with the name of Heitor Villa-Lobos to the taxi driver. At that time, the world was totally different. It was enough to show a name and the driver knew what to do. He took us directly to Villa Lobos’s home. It was a huge mansion. He certainly knew that we would appear, but he could not know exactly when. There was no communication. The employees of your home paid the taxi and we were there, waiting. We expect a whole day. Everyone was very kind. Villa-Lobos arrived late afternoon; he read the letter in silence. He helped us in the beginning. But I never had closer personal contact with him.

Koellreutter would have fled that night, from Freiburg. He would have immediately followed to Basel and from there to Geneva, where Hermann Scherchen received him. 319 After that, he would have followed to Berlin, as to obtain his passport. There he was officially informed that his own KOELLREUTTER - the music revolutions of a Zen master emanuel dimas de melo pimenta 2 0 1 0

family accused him of “crime of racial dishonor”.

Koellreutter had tears in his eyes.

It is not easy someone tell freely that was forced to flee because his own parents had sentenced him to death in a concentration camp.

There were rumors that Koellreutter have never received war reparations from Germany. We never talked about it. I never asked, because I always considered it an extremely intimate question.

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10

The arrival in Rio de Janeiro, on the sixteenth of November 1937, a Tuesday – fleeing the horrors that emerged rapidly in Europe with Hitler – was a dramatic change in his life.

But Rio de Janeiro did not live very quiet times. In that same month, Getúlio Vargas had commanded the coup d’etat and established the Estado Novo. Few months earlier 321 in July, Nazi Germany had sent a new ambassador, Karl Ritter, who would cause all sorts of diplomatic conflicts trying to get from Brazil a formal alignment with the axis. KOELLREUTTER - the music revolutions of a Zen master emanuel dimas de melo pimenta 2 0 1 0

It was the persecution of Luiz Carlos Prestes, of Campos da Paz and of all members of the Communist Party. Although Getúlio Vargas government has resisted taking a formal alignment with Nazi Germany, there was a declared sympathy with the German government, clearly visible in the text of the new constitution of ten of November 1937, one week before the arrival of Koellreutter.

Like a paradox, Brazil – and especially Rio de Janeiro – already lived a technological change: in 1927, all over Brazil, there were only six hundred forty-three air travelers. That number quickly jumped to more than thirty-five thousand people in 1937!

When he arrived in Brazil, Koellreutter could not read or speak Portuguese. The entire social convulsion passed 322 practically unnoticed to him. Despite the political climate, there was no violence in the streets. KOELLREUTTER - the music revolutions of a Zen master emanuel dimas de melo pimenta 2 0 1 0

- The first times? My friend, I had arrived at the paradise! Rio de Janeiro was the most beautiful place I had ever seen. It was something no one could imagine. You have no idea. There were relatively few people in the city. Nature was everywhere. Invaded everything. Everything was exuberantly beautiful. Everything was so beautiful that I almost could not work for a year! During the first year I was totally entranced by so much beauty.

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Rio de Janeiro, 1938 KOELLREUTTER - the music revolutions of a Zen master emanuel dimas de melo pimenta 2 0 1 0

Koellreutter escaped from the terror of Kristallnacht, which happened exactly one year later, in November 1938, and the heavier and bloody horrors of Nazism.

Fred Jordan, another dear friend, graphic artist, surely one of the foremost experts on color all over the world, was twelve years younger than Koellreutter, and arrived in Brazil a year before him in 1936, when he was nine years old – he also fled the horrors that few were already able to predict.

Fred Jordan’s father was the first violinist of the Berlin Symphony Orchestra. He was expelled and banned from working, because he was a Jew, by an express command signed by Richard Strauss in his passport. Richard Strauss knew personally him very well! They had worked together for years and the attitude of the composer would never be understood or accepted by the father and even by the 324 graphic artist. KOELLREUTTER - the music revolutions of a Zen master emanuel dimas de melo pimenta 2 0 1 0

Fred Jordan died in 2001 in São Paulo. Many times, during our meetings in the 1980s and 1990s, he commented about the fascination that the figure of Koellreutter exerted on all, even in those early days of his childhood. «It was something magical. I was very young. Later, I arrived to know Koellreutter personally. I was about eighteen years old. He could never remember. He has always been an important figure. But there also was a lot of political controversy around his figure».

Indeed, Koellreutter did not remember Fred – but he knew him by name, because of his work, and he was delighted to know that they had been together many years before.

One year after his arrival in Rio de Janeiro in 1938, Koellreutter finally began to teach at the National Conservatory of Music. 325 Some years later, in the 1940s, with Villa-Lobos, he KOELLREUTTER - the music revolutions of a Zen master emanuel dimas de melo pimenta 2 0 1 0

helped to found the Brazilian Symphony Orchestra, where he was the first flutist.

In 1939, from meetings with musicians and intellectuals at the music store Pinguim, in the rua do Ouvidor, in Rio de Janeiro, he would create the movement Live Music, from a concept coined by his former teacher, Hermann Sherchen in 1933.

Live Music essentially meant music as social function. Three years later, in 1942, together with Francisco Curt Lange, Koellreutter created the magazine Live Music, and only in 1944, he would launch the first Live Music manifest, not by chance on the first of May.

One night at his home in Laranjeiras, he commented about that movement: 326 - Even in our days there are people asking me if Live Music is something about contemporary KOELLREUTTER - the music revolutions of a Zen master emanuel dimas de melo pimenta 2 0 1 0

music, about the so-called New Music. It is not. The movement Live Music was about everything we do not know, anything that is new for each one of us. That was the thought of Hermann Scherchen. It can be a medieval music, Indian, a piece by Bach or John Cage, it doesn’t matter. We must not have preconceptions. What is new can be in any place.

In that manifesto, Koellreutter wrote that «music must be the expression of its time, of a new state of intelligence» through «a new world, believing on the creative power of the human spirit and in the art of the future».

The movement Live Music, which counted with Heitor Villa-Lobos as honorary president, represented the final 327 integration of the principles of atonality, dodecaphonic and integral serialism in Brazilian culture. KOELLREUTTER - the music revolutions of a Zen master emanuel dimas de melo pimenta 2 0 1 0

Claudio Santoro, who was also his student, had some dodecaphonic compositions before had knew Koellreutter, but the old master had a very precise opinion on what happened in Brazil in relation to the techniques developed by the Second Viennese School. - There were some efforts, some attempts. But people did not understand the true spirit of Arnold Schoenberg, Alban Berg and Anton Webern. People had heard about something... but they did not really know the technique, they did not understand with clarity the concept.

In the moment when Brazil joined the Allies and declared war against Germany, in August 1942, Koellreutter was arrested in São Paulo, along with many other Germans, 328 on suspicion of espionage. He spent three months in jail, until his innocence was proved. Inside the prison, where in KOELLREUTTER - the music revolutions of a Zen master emanuel dimas de melo pimenta 2 0 1 0

fact there were many Nazis, he was accused of being “the Jewish Communist”.

This was the fact that still marked Fred Jordan’s memory many years later.

In 1948, he traveled to Europe and taught at the International Institute of Music of Darmstadt, in Germany, where Luciano Berio, Karlheinz Stockhausen and Pierre Boulez studied, among many others, and at the Centro Internazionale di Musica Contemporanea di Milano, in Italy, where Luigi Nono was his student.

Karlheinz Stockhausen was twenty years old.

In the following year, Koellreutter personally know John Cage, in Geneva, Switzerland, at the International 329 Meeting of Dodecaphonic Composers, in 1949. KOELLREUTTER - the music revolutions of a Zen master emanuel dimas de melo pimenta 2 0 1 0

The climate lived in Rio de Janeiro dramatically changed after the end of the Second World War. If before a composer like Heitor Villa-Lobos, then openly connected with Getúlio Vargas, pro-fascist, dictator and fundamentalist could support a young flutist and composer of left and even accept to be president of a movement like the Live Music, later such flexibility would prove to be increasingly impossible.

In 1950, disgusted by the fact that Koellreutter refused to become a member of the Communist Party, the composer Camargo Guarnieri launched his fury against him, accusing him of corrupting the youth – the fame that would follow him by the end of life.

That year, seven of November, Guarnieri launched his famous Open Letter to Musicians and Critics in Brazil where he shouted, without mincing words: «Considering my major 330 responsibilities as Brazilian composer, before my people and the new generations of creators in musical art, and deeply KOELLREUTTER - the music revolutions of a Zen master emanuel dimas de melo pimenta 2 0 1 0

concerned about the current orientation of the music of young composers who, influenced by erroneous ideas, are affiliated to the dodecaphonic – formalist movement that leads to the degeneration of the national character of our music – I took the resolution to write this open letter to the musicians and critics of Brazil. (...) It is time to raise a scream to stop the formalist and anti-Brazilian harmful infiltration (...) Like monkeys, like vulgar imitators, like creatures without principles, they prefer to import and to copy noxious foreign novelties, simulating, in this way, that are ‘original’, ‘modern’ and ‘advanced’ and deliberating and criminally forgetting that we have an entire Amazon of folk music – a living expression of our national character – waiting to be studied and divulged for the aggrandizement of the Brazilian culture (...) It is necessary to tell to these young composers that dodecaphonic, in music, corresponds to abstraction in painting, to hermetic in literature, to existentialism in 331 philosophy; and to charlatanism in science». KOELLREUTTER - the music revolutions of a Zen master emanuel dimas de melo pimenta 2 0 1 0

Oswald de Andrade and Patricia Galvão, Pagu, were furious with Guarnieri. Koellreutter suggested a public debate on December seven. Guarnieri simply did not appear.

In December twenty-eighth, Koellreutter published his answer in the form of a new open letter: «... the twelve- tone is not a style, not an aesthetic tendency, but yes the use of a compositional technique designed to structure the atonality, musical language in formation, logical consequence of evolution and of the conversion of quantitative changes of chromaticism in qualitative, through mode and tonality. (...) It is no more nor less ‘formal’, ‘cerebral’, ‘anti-national’ or ‘anti-people’ than any other technique based on traditional counterpoint and harmony. (...) Contrarily to what Mr. Guarnieri said, which seems me alarming is the situation of mental stagnation in which the Brazilian musical scene lives, from which educational institutions, with its retarded and 332 ineffective program, has knew no representative value in recent years. (...) The exalted and exasperated nationalism KOELLREUTTER - the music revolutions of a Zen master emanuel dimas de melo pimenta 2 0 1 0

which blindly and in hateful way condemns the contribution that a group of young composers tries to give to this country’s musical culture, leads only to the stirring up of passions that give rise to disruptive forces and separate human beings. The fight against those forces that represent the backwardness and reaction, the sincere and honest struggle for the sake of human progress in art is the only worthy attitude of an artist».

With a highly ideological speech, Camargo Guarnieri, whose first name was Mozart, the son of an Italian immigrant, represented São Paulo that quickly emerged as a future cultural center in Brazil, against Rio de Janeiro, still very characterized by the dominance of French culture.

Guarnieri’s father, Italian, was barber and flutist. His mother, daughter of a traditional family in São Paulo, played 333 piano. KOELLREUTTER - the music revolutions of a Zen master emanuel dimas de melo pimenta 2 0 1 0

Two years before, in 1948, Koellreutter received the Brazilian citizenship – but he was still regarded as foreign by the musician of São Paulo.

In some sense, it was as if Guarnieri represent the poor people of São Paulo against the rich bourgeoisie of Rio de Janeiro. In this type of fight there is always plenty of room for the emergence of unfair and absurd situations. - It was terrible. It was a real war. There were places where I could not go. Everything was very serious. You cannot imagine. People cannot imagine today what all that was. Guarnieri wanted to impose a dictatorship. For him, who was not fighting for the Communist Party was automatically an enemy! Before, we were good friends. Once I got sick and he was the only person who visited me almost 334 every day. – Koellreutter commented on those events with an air of profound seriousness. KOELLREUTTER - the music revolutions of a Zen master emanuel dimas de melo pimenta 2 0 1 0

But Koellreutter never was a person to be intimidated. Less than two years after Guarnieri’s violent attack, he would participate in the foundation of the Free School of Music, in São Paulo, where the architect and urban planner Jorge Wilhelm participated as student, who I would also meet in the early 1980s when he collaborated in drafting the first Integrated Master Plan of the city of São Paulo and who I would meet again years later in Lisbon.

In 1954, he created the International Music Seminars in Salvador, Bahia, which would become the School of Music of the Federal University of Salvador. Three years later, he would invite Walter Smetak – the brilliant Swiss musician, born in Zürich, based in Brazil – to be a teacher and researcher at the University of Salvador. Smetak would develop a work that profoundly influenced many of the most outstanding 335 Brazilian musicians. KOELLREUTTER - the music revolutions of a Zen master emanuel dimas de melo pimenta 2 0 1 0

They were already old stories. Thirty years had passed. Koellreutter had his eyes lost and full of emotion, admiring the beautiful Corcovado.

It was hot, and everything was very wet, as always.

In 1960, he composed Concretion 1960. Since then, he stopped calling his compositions “works” and started using the term “essays” – «Concretion 1960 is my first essay of planimetric structure», he wrote years later.

In 1962, then forty-seven years old, Koellreutter received a prestigious award by the Ford Foundation “for twenty-five years of services to Brazil” – for which he received even more critics, because it was a prize of North American origin. But that award enabled him to live one year in Berlin. There he was asked to organize the international programs 336 of the Goethe Institute in Munich. KOELLREUTTER - the music revolutions of a Zen master emanuel dimas de melo pimenta 2 0 1 0

Two years later, in 1964, it happened the coup d’etat and the military dictatorship in Brazil – and anyone who really knew him know how it would be practically impossible for him to survive in the heavy environment of totalitarianism, whatever its nature. Freedom was something fundamental in his mind.

Thus, between 1965 and 1969, he became director of the Goethe Institute in New Delhi, India, where he lived near Octavio Paz – who was then ambassador to Mexico. They became great friends.

Then, he invites Karlheinz Stockhausen to visit, for the first time, India. A trip that would profoundly influence his career.

He met and lived near Ravi Shankar. 337 Many years later, already in the 1990s, I personally KOELLREUTTER - the music revolutions of a Zen master emanuel dimas de melo pimenta 2 0 1 0

met Ravi Shankar in Lisbon. I told him that Koellreutter had sent him greetings. The Indian musician was very touched to hear from a friend of many years. - It was a very special time for us. Ravi Shankar is a saint in India. But there are others. There are fabulous musicians. Margarita and I really enjoyed those times. Margarita studied singing and sitar. I also studied a bit of sitar.

Immersed in my youthful naiveté, I asked why Margarita did not study singing since she was a world-renowned mezzo soprano, and he – recognized flutist – did not studied the Indian techniques for transversal flute. - But Emanuel! This would be impossible. The techniques of singing and flute in India are diametrically opposed to those in Europe! In India one almost doesn’t use the diaphragm. 338 If we did what you suggest we would probably destroy our techniques and never learn theirs KOELLREUTTER - the music revolutions of a Zen master emanuel dimas de melo pimenta 2 0 1 0

correctly.

From India, Koellreutter was transferred to the direction of the Goethe Institute in Tokyo, where he lived until 1974. In Japan, he met and lived near many writers and intellectuals. - Japanese and Germans are the two more similar people, among the many I have known throughout my life. – Koellreutter had a great esteem and deep identity with the way of being in Japan, though his restless questioning spirit, even when young, would be something strange to the Japanese culture.

In 1975, after thirteen years between Europe, India and Japan, Koellreutter finally returned to Brazil to direct the Goethe Institute in Rio de Janeiro, until 1980. 339 In the last years as director of the Goethe Institute in KOELLREUTTER - the music revolutions of a Zen master emanuel dimas de melo pimenta 2 0 1 0

Rio de Janeiro, in late 1970s, Koellreutter gradually intensified his presence in São Paulo – and it was when we met each other.

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11

He enjoyed the silence like no other. After telling story after story, he liked to spend a long time in silence, smoking his pipe, as if he could relive, dreaming, every instants of life. In those moments, when he was in another world, sometimes he went back to reality with a very serious look 341 and said only: - Well, my friend. This is the life... KOELLREUTTER - the music revolutions of a Zen master emanuel dimas de melo pimenta 2 0 1 0

Alone or not, I was almost all the time studying in his apartment at Laranjeiras.

But one day we went out for a very special lunch. It was a meeting with a large and lively group of students of music, his students.

We went to a restaurant by the sea, I think it was in Copacabana, at Atlantica Avenue.

When we reached the front of the sea, he stopped meditating for a moment and said: - Yes... my friend... life is like the waves of the sea... everything appears and disappears quickly.

My father always said the same thing. Since I was a child, my father always repeated: «Life is like the sea waves... 342 they repeat, all the times, but they are always different. We are just that, like the foam of the sea, everything is KOELLREUTTER - the music revolutions of a Zen master emanuel dimas de melo pimenta 2 0 1 0

ephemeral».

Many years later, the conductor José Antônio Pereira would remind me about this poetic vision of Koellreutter: «He said that we were like the waves at sea. We could see when they were formed and quickly disappeared».

As always, the rule at the lunch was: each one paid his own bill. All very casual and colorful. We were about thirty people and the students were around twenty years old, slightly younger than me.

Koellreutter was the only older, then nearly seventy years old.

He sat at the end of the long table. I was at his left side. It was twelve thirty when we ordered the meals. Half hour 343 after later the meals had not arrived. The minutes passed slowly and, despite repeated requests, at one thirty nothing KOELLREUTTER - the music revolutions of a Zen master emanuel dimas de melo pimenta 2 0 1 0

had yet been served beyond a few drinks.

The service, which was terribly bad, was compensated by our alive conversation, which made us to lose track of time.

But, when it was a quarter to three, nothing had been served yet and the service was virtually nonexistent.

Quietly, the Koellreutter asked what I thought we should do. I was very sincere and said that I thought the best would be to go, all at once. He agreed. We agreed to wait another ten minutes, precisely. We adjusted all our watches. Most students thought it was a joke.

Except for Koellreutter, a few more and me, no one seriously thought of leaving without paying. 344 Exactly ten minutes later, without having been served, KOELLREUTTER - the music revolutions of a Zen master emanuel dimas de melo pimenta 2 0 1 0

or even attended, everyone suddenly got up and walked quickly to the street.

Koellreutter and I went forward in very fast steps. As soon as we turned the first corner, the manager of the restaurant came running, desperate.

The man wanted we back. He was threatening. Quietly, Koellreutter suggested to call the police. When he heard the word police, the manager was immediately calm and suggested a solution. We agreed to pay only for the consumed drinks and we left.

The students were delighted with the energy, spirit and forthright of Koellreutter’s decision. At that moment, we all had the same age.

345 I returned to the apartment at Laranjeiras and continued studying. KOELLREUTTER - the music revolutions of a Zen master emanuel dimas de melo pimenta 2 0 1 0

After dinner, we always watched the news on television – I think they were almost the only moments I saw him watching television. To each news about war, violence, theft or crime – and it was practically only this what the news showed – he gave a little jump, a small smile of incomprehension, as if he was talking to himself, said: «stupid!».

For him, in a certain sense, it was incomprehensible that a so beautiful world, with a so exuberant nature, so generous, with music, art and science could be so dramatically designed by human conflicts. It really was a stupidity.

We almost did not talk in those moments. After the television news, he loved to watch a very cheap televisions series. - This is the fair portrait of the country. It is like a 346 letter, it cannot deceive. If you really want to know what Brazil is, pay attention to this cheap television KOELLREUTTER - the music revolutions of a Zen master emanuel dimas de melo pimenta 2 0 1 0

series.

After that, the television was off and we read each one his book. He was always very kind and attentively asked if I would like to watch something special, even knowing that I preferred to read. He insisted always saying that I could do whatever I wanted in his home – that it was my home.

About ten o’clock at night he retired to sleep. I kept reading – because it would not be polite to go to the guest room at the same time. There was only one bathroom in the apartment, and I did not want to risk the trouble of using it at the time the Koellreutter wished to.

So, I expect to be sure that he had finally retired to his room. Only when he closed the door, I headed to the guest room. 347 And I tried to do everything very silently. KOELLREUTTER - the music revolutions of a Zen master emanuel dimas de melo pimenta 2 0 1 0

Koellreutter woke up at seven o’clock in the morning. Around six thirty I was awake. I remained in bed, quiet, waiting for him to get up, go to the bathroom and retire to the living room.

When he walked to the living room, only then I got up quickly and quietly, arranged everything in the room, followed on tiptoe to the bathroom, took a shower and then arranged everything, very carefully.

When we met in the living room, it was virtually impossible for anyone to realize that I had slept there or even used the bathroom. I left everything exactly as I had found.

It was a formal ritual, every day.

348 On the last day, when we were leaving to Petropolis, at breakfast, he turned to me and said: KOELLREUTTER - the music revolutions of a Zen master emanuel dimas de melo pimenta 2 0 1 0

- Emanuel, you are the most Japanese western I have ever met in my entire life!

The trip to Petrópolis was calm.

When we arrived, I was completely amazed with the place. It was a very beautiful house, in a sense similar to a Japanese one, placed in the midst of a stunning rain forest with towering ancient trees, incredibly beautiful trunks and a little lake.

It was such a beauty that I did not know what to say when we arrived. The entrance was a small and almost hidden road on land.

At times that place looked like a magical scenario, those 349 which enchanted Albert Eckhout, Johann Moritz Rugendas or Jean Baptiste Debret. KOELLREUTTER - the music revolutions of a Zen master emanuel dimas de melo pimenta 2 0 1 0

Johann Moritz Rugendas 19th century

The height and majesty of the trees resembled old 350 engravings on the Brazilian forests. KOELLREUTTER - the music revolutions of a Zen master emanuel dimas de melo pimenta 2 0 1 0

The owner of the property was a Frenchman. An arrogant, aggressive and closed person. He rented the place for millionaires or, especially at a better price for Koellreutter – because, in some sense, his presence made the history of the place and helped to enhance the property. For him everything seemed to be openly based on some personal interest.

The rent that wonderful place was equally shared by all students, so that it was not even too expensive.

But the Frenchman had a terribly difficult temperament. He treated everyone, and we were not exception, as ignorant, uncivilized.

He seemed to be less hysterical only when, for his surprise, I began speaking in French with him. It was as if 351 speaking French was a passport to civilization! KOELLREUTTER - the music revolutions of a Zen master emanuel dimas de melo pimenta 2 0 1 0

We, the students, slept in a small house, hundreds of feet below, near the entrance gate. It was a very simple construction, with several rooms. It should be an old cottage for the staff.

Koellreutter had a very nice cottage near the lake. It was a small house that looked like something taken from a tale by the brothers Grimm.

Every day we should be punctually at seven o’clock in the morning for the breakfast, which was served in a small room next to the kitchen, in the big house.

The days were spent in private and intensive lessons with Koellreutter, especially analyzing in detail theSymphony No. 8 in B minor, D 759, by Franz Schubert and the Piano Concerto No. 1 in C Major, Opus 15, by Beethoven – two 352 key works to better understand the works of those fabulous composers. KOELLREUTTER - the music revolutions of a Zen master emanuel dimas de melo pimenta 2 0 1 0

We also profoundly analyzed works by Palestrina and some pieces by Guillaume de Machault.

Everything was worked up to the last detail, bar after bar, sets of bars, sections of movement, movements, internal relations and relations between pieces, as well as countless other factors.

It was a deep dive in that magical universe.

When everything ended, at six or seven in the afternoon, often there still was much work to do, we went to our rooms, waiting for dinner, with the sun dying for a new day.

The pace was passionately frantic. 353 In the woods surrounding the beautiful house, old KOELLREUTTER - the music revolutions of a Zen master emanuel dimas de melo pimenta 2 0 1 0

centenary trees had tens of feet in height, fabulous trunks, animals, birds, vines and music could be heard through a great sound system camouflaged in the middle of the vegetation.

The Frenchman never more appeared. After the first day, we never saw him again. He was a man who had lost the love for life. He had become bitter, angry, without hope, without dreams, without passion.

In one of those days, in a moment of pause, a sonata for violin and piano in A major by César Franck could be heard in the middle of the woods. I wandered lonely by small paths between the giant trees and the small and sinuous lake – which reminded the lake at Claude Monet’s garden in Gyverny, in France, as if it was almost a replica of it – and unexpectedly I met Koellreutter.

354 He also walked alone, without any purpose, meditating, with his hands behind him. KOELLREUTTER - the music revolutions of a Zen master emanuel dimas de melo pimenta 2 0 1 0

The music of César Franck and the small lake with swans, was seemingly so far from the tropical reality of Brazil that, in a joking way, without thinking, I said him that all that seemed me a bit kitsch.

Koellreutter turned and looked into my eyes, with deep seriousness: - Music has no horizons, no frontiers, neither in gender nor in race or creed. Music is free. César Franck was a great composer. Listen carefully to this music, not as something strange, like something stuck to a scenario, but as a process, listen to the music. Now let’s not talk anymore. Continue to walk, just that. César Franck belonged to the romantic world of the nineteenth century.

355 Each one in his path, we continued lost in the twilight, with César Franck’s music mixed with the sounds of birds KOELLREUTTER - the music revolutions of a Zen master emanuel dimas de melo pimenta 2 0 1 0

and insects.

That was one of the greatest lessons of music I had. It was then that really understood the music of César Franck.

Many times we had no electricity. The giant tropical storms meant that the electricity supply could be suddenly cut.

So, generally, we dined with candlelight and kerosene lamps.

There was a small Baroque church in that forest, part of the Frenchman’s property. In it, there was a formidable harmonium. But the church was always closed, very well locked. There were strict orders that no one should enter there, never ever! It was one of the many and strict 356 prohibitions. KOELLREUTTER - the music revolutions of a Zen master emanuel dimas de melo pimenta 2 0 1 0

One night, a violent storm was approaching. I was walking near the church with a friend, my colleague. She was a sweet and very sensitive person.

It was very hot.

I had an idea! We would enter the church and in the midst of the terrible storm, I would do an improvisation on the harmonium.

It was said, among the oldest employees of the property, that ghosts wandered near the chapel.

It would be perfect! Ghosts and a harmonium being performed in the prohibited church, in the middle of the storm!

357 But! How could we enter there? The front door was heavily bolted with a big padlock. The back door also. We KOELLREUTTER - the music revolutions of a Zen master emanuel dimas de melo pimenta 2 0 1 0

could not force to entry. I noticed that at the top, in the sidewall, there was a rectangular window. A body could certainly pass there, especially a body of someone younger, like mine or hers.

We dragged a small table, which was providentially abandoned at corner, in the middle of vegetation, along the trees. I went up and discovered that the window could be opened with the aid of a wire. The storm approached. We already felt thick raindrops on our bodies.

Practically there was no light. It was difficult to distinguish anything in that dense darkness. But like an act of magic, there was a bit of wire near the front door.

I managed to open the window, which was high and difficult to pass through. In silence and carefully, we both 358 entered in the small church. KOELLREUTTER - the music revolutions of a Zen master emanuel dimas de melo pimenta 2 0 1 0

The storm began with violence. I opened the magnificent harmonium and began a long improvisation.

It was fabulous! The violent storm and the sounds of the harmonium!

When the heavy rain gave signs of its end, I carefully closed the harmonium. In silence, we jumped back through the window, paying attention to lock again, leaving as if it had never been opened. We dragged the small table to the place where it originally was, erasing the traces on the ground. We put back the piece of wire in its original place and quickly come back to our rooms in the house near the entrance of the property.

In the next morning, we all were punctually at seven o’clock for the breakfast. Only we both knew what 359 had happened in the church. We did not tell even to our colleagues. KOELLREUTTER - the music revolutions of a Zen master emanuel dimas de melo pimenta 2 0 1 0

In a kind of small winter garden near the kitchen, where the breakfast was served, the lady who worked at the house asked if we had heard something strange during the night. We all said no. She trembled. We asked why she was asking about it. She said, with some distrust and fear, that it was heard had music inside the church during the storm. At first, they thought that it had been one of us. But the church was tightly closed. When the storm passed, the employees went to the church to check and surprised found that no one had entered there, because everything was exactly as before and the church continued very well locked.

I think that that night entered in the history of the place as another event with ghosts.

Koellreutter heard everything without changing his 360 movements, as if nothing had happened. He simply continued his breakfast, calmly – and finished before everyone. It KOELLREUTTER - the music revolutions of a Zen master emanuel dimas de melo pimenta 2 0 1 0

seemed me, in his total lack of expression that he knew what had happened. - My friends, it is time to work! – and the breakfast suddenly ended.

All my colleagues – formidable and talented musicians – were very involved with the traditional notation and conventional techniques. I was not. To me, the most interesting were the cognitive processes, the intertwined concepts of space time, the formation of complex mathematical archetypes in full metamorphosis.

One afternoon, when we analyzed a medieval piece, I decided to change the strategy of analysis – leaving the traditional models and establishing a kind of graphic binary map with black and white fields.

361 The result was a diagram that looked like a whirlwind in a chess table. But we could clearly see the patterns of sounds KOELLREUTTER - the music revolutions of a Zen master emanuel dimas de melo pimenta 2 0 1 0

determined by the composers, unveiling an interesting part of their strategies of composition.

The other students laughed of what I had done. It certainly would cause a strong and very negative reaction of Koellreutter, they thought.

But when Koellreutter saw what I had done, he was delighted. For the incomprehension of the other students, he asked me to explain in detail how that method worked. I told him that there were elements of rhythm and modal combinations that were not clear, unless we create other resources to show them, something like intermedia transcreations, that is, passing from one medium to another, in this case for the visual.

I was asked to develop that technique of analysis, which 362 allowed a more complete understanding of the composition, revealing the composer’s strategic choices. KOELLREUTTER - the music revolutions of a Zen master emanuel dimas de melo pimenta 2 0 1 0

The next day we had the morning free – finally! – and we all went to visit Petropolis with Koellreutter, which is a lovely city.

Petropolis was the home of the Brazilian Emperors during the summer time. I still did not know the imperial city that was right under our feet.

We followed two cars – one of them, which was of one of the students, and mine.

We parked and walked by the streets. We went to a small supermarket to buy supplies necessary for the next few days and decided to eat at a nice Italian restaurant, very simple, well ahead of the river channel that runs through the city. 363 As soon as we finished our lunch, surrounded by bags KOELLREUTTER - the music revolutions of a Zen master emanuel dimas de melo pimenta 2 0 1 0

from the supermarket, we heard deafening thunder struck and the beginning of a new storm.

It was very violent. Our cars were relatively distant. We decided, as a matter of courtesy, to go – only the two owners of the cars – and take Koellreutter and the other students, as they would not get wet with the heavy rain.

So we did. We ran and reached the cars completely soaked. The rain was warm and generous. We were able to put the cars, one at a time, very close at the door of the restaurant, so the people could get in without getting wet.

The storm seemed to have no end.

With the car complete, all rescued without getting wet, outside still under intense rain, we went back to the 364 magical property of Frenchman, on the mountain. KOELLREUTTER - the music revolutions of a Zen master emanuel dimas de melo pimenta 2 0 1 0

But as soon as we arrived there, we discovered that two bags of the supermarket were missed – the bags belonging to me and to the student who drove the second car.

I asked why they had not taken our bags! Koellreutter answered without hiding some irony: - Well, because you do not pay attention. The bags were your responsibility, of you two, bringing or not the cars. Many times it will happen in life. There is something unexpected and one forgets what is really important, which in this case is the food. Your bags are kept safe in the restaurant. But will must go back to pick up them.

While controlled, I was furious! If what Koellreutter had said was true, it was also true that we were part of a team, and each one had the obligation to think for the other 365 ones, to cooperate in establishing a synergistic chain, which had not happened in that case. KOELLREUTTER - the music revolutions of a Zen master emanuel dimas de melo pimenta 2 0 1 0

We both returned alone, fully wet, to get the bags.

In any case, that incident has not only marked forever in our souls the importance of having careful attention to the smallest things – that would be of fundamental importance throughout our lives – but also to reveal how everything was education to Koellreutter, at all moments.

We had forgotten the bags of the supermarket, but he had not forgot to teach us, even under a terrible storm and even having to be rude.

The classes in that magical place happened around the beautiful grand piano in the marvelous house under those giant trees.

366 Every day, in the late afternoon, a violent storm conquered all attentions. KOELLREUTTER - the music revolutions of a Zen master emanuel dimas de melo pimenta 2 0 1 0

In the small and very simple house where we, the students, were, the owner demanded that we should sleep on mattresses covered with plastic bags!

Everything was extremely simple in the house for the students. When we entered there in the first time, an employee of the property came forward and went ahead to tell how many lamps were there. On the last day, everything would be subjected to a new verification. If one lamp was missed, one fork or any other thing, however small or less important it could be, the value of the object would be charged and to it also added a heavy fine.

It was an absolute nonsense. Contrary to the draconian rules, we took out the plastic bags at night – it was impossible to sleep on them – and put them back in the morning, and 367 the employees thought we had slept on the plastic. Every morning, an employee came to check if the mattresses were KOELLREUTTER - the music revolutions of a Zen master emanuel dimas de melo pimenta 2 0 1 0

covered with plastic. If they were not, they said we would be charged a penalty in money.

Everything in that place seemed to be about fines and threats.

No one else supported the owner of that place – that, even absent, always was represented by some of his employees who seemed to surely be worse than him.

The breakfast was served at seven o’clock rigidly. Who was delayed more than ten minutes lost the right to it. It was the fine... They were express orders of the Frenchman, who acted as if he were the dictator king of the place. And all this happened despite we – the students – were who were paying for everything.

368 I talked to Koellreutter about that very embarrassing situation. KOELLREUTTER - the music revolutions of a Zen master emanuel dimas de melo pimenta 2 0 1 0

- Yes... my friend. People change. Everything changes. If you had known this person a few years ago you would not believe. It seems that suddenly he lost all money, or almost all money, and became like that. Isolated from the world. With these conditions it will not be possible to be here again. It is a pity, because the place is unforgettable.

On the first morning in that heavenly place, punctually at seven o’clock, we were all gathered in the small winter garden for the breakfast and waited for Koellreutter, who never appeared. It was very strange, because he was always very punctual.

Of course, we refuse, all us, to take the breakfast before he arrived. And the delay was becoming increasingly worrying. 369 We asked to one of the musicians with us, and who I KOELLREUTTER - the music revolutions of a Zen master emanuel dimas de melo pimenta 2 0 1 0

had already knew since a long time, to go to the little cottage where he was sleeping and knew if he was in trouble, if he needed something from us.

We arrive to think, full of fear, that he might be dead in the cottage!

A few minutes later she came back very nervous and worried. «He looks very bad. He said he had bad moments during the night. That he did not sleep. He not even opened the door for me! He asked us to take the breakfast without him. The only person he wants to see is Emanuel. He asked for Emmanuel to be there immediately».

It was a worrying sign that he could be seriously ill. But why only I could go there? No one understood. The other students made some jokes... what could it be? If it was a 370 serious situation, what we should do? To call a hospital? KOELLREUTTER - the music revolutions of a Zen master emanuel dimas de melo pimenta 2 0 1 0

When I arrived at the cottage and knocked the door, he opened it immediately and pulled me in, very nervous. He closed the door quickly, managing to make sure that I was alone. - Emanuel, you do not know what happened. A disaster! I forgot my razor in my apartment in Rio de Janeiro! - But what is the problem? Why you do not come to take the breakfast with us? You could shave later... or let your beard grow these days... - My friend! A man like me cannot come up not shaved! Never! It’s my image! Impossible! How can we solve this? It is a very serious problem for me. - If you want, I can, very discreetly, or rather, secretly, go to the town and buy a razor for you. It will be easy if the commerce is open. Now it is too early... - Are you sure that you are able to go without anyone 371 seeing, that no one knows what’s is going on? - Yes… I think so... I can leave in silence, hidden... KOELLREUTTER - the music revolutions of a Zen master emanuel dimas de melo pimenta 2 0 1 0

- Pay attention, you must to do this without anyone noticing what is happening. Go back to the breakfast. Say that I have not slept well at night, that I’ll rest for a while, but that is not anything serious. Tell them that the classes of this morning are all suspended, and that we will compensate at evening. Then, just after the breakfast, when each one will be at his or her place, you should go in secret to the city and buy a new razor for me. But no one can know!

Koellreutter was extremely disturbed with that situation. It was then that I had a clear notion of how his self-image was very important for him.

He took care of his appearance in detail.

372 Certainly, this element of his personality contributed for his deep emotional relationship with Japan. KOELLREUTTER - the music revolutions of a Zen master emanuel dimas de melo pimenta 2 0 1 0

In Japan, the personal image – in positive or negative terms – is something of great social importance.

Two key concepts in Japanese culture are a clear illustration of this phenomenon: wabi sabi.

In one of the first times I was in Japan, I was invited to have a tea at the home of a leading scientist of the Institute of Technology in Tsukuba.

Immediately as I entered in his home, I noticed that there were no pictures on the walls, the wall painting was old and everything was extremely simple, so simple that could be considered a poor house.

I noticed that he always wore apparently old and 373 frayed shirts. His glasses were old, as his car also was – but he was a leading scientist! KOELLREUTTER - the music revolutions of a Zen master emanuel dimas de melo pimenta 2 0 1 0

He lived the principle of wabi – which is the simplicity, the material detachment, the removal of exuberance in all its senses. It is a principle followed by a lot of people in Japan. When someone expresses wabi he or she is also expressing spiritual integrity, credibility, respect for the community and freedom among many other values.

Originally, the word wabi indicated the idea of withdrawal from society, a kind of monadic attitude, of solitary life. Later, after the fourteenth century, it became in another type of retirement – distance from material values and, thus, an approximation of the human values, of the relations with the community.

The word sabi means serenity attained with the experience of life, spiritual peace reached with age. 374 Wabi and sabi are concepts that often go together and KOELLREUTTER - the music revolutions of a Zen master emanuel dimas de melo pimenta 2 0 1 0

are manifested in the person’s appearance, in his behavior.

Both are aesthetic ideals and illustrate how the self- image is fundamental in Japanese culture.

Wabi and sabi launch their conceptual origins in Zen, which is the free essence of Buddhism.

In the wabi sabi universe, all existence is structured by three key conditions:anicca , which means the impermanence of everything; dukkha, which indicates the idea of continual change and the consequent emergence of conflicts, the essence of consciousness; and anatta, which indicates the idea of non-existence, namely the idea according to which everything is only an illusion.

Koellreutter had a deep spiritual connection with 375 Japan. These values were deep printed in his soul. KOELLREUTTER - the music revolutions of a Zen master emanuel dimas de melo pimenta 2 0 1 0

When I returned to the breakfast, I told my colleagues that he was not feeling well, he wanted to rest, but they did not need to worry, because it was not anything serious.

However, they did not want to believe. If so, why he had said nothing to our colleague who had been there minutes before? I did not know what to say. I was phlegmatic, concise, and tacit. I said nothing more. He had not slept well at night, just that.

That history has created an embarrassing climate for me, because people did not believe in what I said, but I could not tell what really happened, no matter how simple it was.

Once everyone finished the breakfast, very discreetly, I walked to my car and pushed it with the engine off until a descent to the street, so no one could hear any noise and 376 realize my escape. KOELLREUTTER - the music revolutions of a Zen master emanuel dimas de melo pimenta 2 0 1 0

I arrived at the center of Petropolis and waited until a small shop opened. I bought a shaving cream, a brush and a mechanical device with blades – he never used electrical appliances – and went back quickly.

The topography of the place allowed me to enter in the property also with the engine off. So I did. Without anyone noticing, I ran to the cottage.

Visibly relieved, Koellreutter opened the door. He was studying at a small table near the window, protected by the curtain. - Thanks! Thank you very much! Now, go back and say that I’m better. Ask everybody to be ready, near the piano, in ten minutes.

And the classes started normally, without anyone had 377 realized what had really happened. Koellreutter said, without details, laconically, that he had not slept well, but that he was already good again. KOELLREUTTER - the music revolutions of a Zen master emanuel dimas de melo pimenta 2 0 1 0

12

In one the following days, we went to the city of Teresopolis – which is not far from Petropolis. Then, there was happening the famous Curso Internacional de Férias, a kind of summertime camp – created by him in 1952 – where Music 1941 would be performed. Koellreutter had composed that piece more than forty years before when Juan Carlos Paz had premiered it in 1942, in Buenos Aires.

It was then I met Beatriz Roman for the first time, 378 who was the performer. She was very kind. Koellreutter liked Beatriz very much – he had a sincere esteem and admiration for her. KOELLREUTTER - the music revolutions of a Zen master emanuel dimas de melo pimenta 2 0 1 0

We were only we three in a small room with an upright piano. Beatriz played several fragments of the piece, so he could make his comments, suggesting minor changes here and there.

Koellreutter had virtually no changes to suggest, the interpretation was exactly as he thought it was right.

Beatrice and I met again only years later, in São Paulo during one of the Festivals of New Music, also with Jocy de Oliveira, whom I always had a great esteem and admiration, despite we had met each other only a few times along the years.

Ironically, Beatrice and I would never find met in New York City, although we both have lived very near each other, 379 almost neighbors, and she had also been a close friend of John Cage, who was not only a great friend of mine but also KOELLREUTTER - the music revolutions of a Zen master emanuel dimas de melo pimenta 2 0 1 0

a person with whom I have worked for several years!

After the course in Petropolis, each one returned to his place, some coming from Rio de Janeiro, others from São Paulo or Minas Gerais, and life returned to its normal rhythm.

Months later, I received an unexpected phone call from Koellreutter. He asked me to urgently go to his home. He wished to have a brief meeting with me outside the schedule of classes. So, we scheduled a lunch.

Then, he also was director of the Conservatory of Tatuí – what required him an additional trip, as the City of Tatuí is about an eighty miles from the city of São Paulo.

The Dramatic and Musical Conservatory Dr. Carlos de 380 Campos, also known as Conservatory of Tatuí – located in the city of Tatuí, São Paulo State – is the largest institution of KOELLREUTTER - the music revolutions of a Zen master emanuel dimas de melo pimenta 2 0 1 0

musical education in all Latin America and one of the largest all over the world.

When I arrived at his apartment, we immediately went to the small meeting room – theKremlin – and there already was cold whiskey and also cold snacks.

He served the usual dose, which did not exceed an inch in the bottom of the cup. I noticed how he was excited. - Emanuel, I have very important news. What I have to tell you may be something revolutionary, fabulous. Even in international terms. But for that, I will be forced to take a very serious decision, a truly radical change in my life. And I would like to know what your opinion is.

381 There was a state of suspense, a tension present in his words, in his movements. Koellreutter was excited, but very KOELLREUTTER - the music revolutions of a Zen master emanuel dimas de melo pimenta 2 0 1 0

anxious. - I was invited to direct a profound renovation of the Conservatory Tatuí. It is a great institution. I do not know if you know, but they have even a symphony orchestra, which can become a good orchestra in the world scenario. The goal is to make the Conservatory of Tatuí an entity of musical education of the highest standard in worldwide terms, if possible rival to Vienna or Salzburg. It will be a huge challenge for me. It is the challenge of a lifetime. It will certainly be the last work of my life. If everything goes well, I want you and some other of my students as my assistants. But I cannot promise anything for now. For now it’s secret. Absolute secrecy! I need to know if you would be at my side.

382 Of course, I immediately agreed to work with him in this new project – a total renewal of a large educational KOELLREUTTER - the music revolutions of a Zen master emanuel dimas de melo pimenta 2 0 1 0

institution and its transformation into a planetary center was challenging and impressive.

Koellreutter was very excited, he talked a lot, but he could not hide certain nervousness. - The problem ... the big problem, very serious, is that to do so, I definitely have to leave my job at Paulista Faculty of Arts and all my other commitments. I have to resign from my position and the many activities that have been involved. At my age, very few people would accept such a challenge. It is a very difficult step, because it is about an important work that can be done there. But, if we will have no success, it could represent my destruction in financial and professional terms. I would be without work, which is very difficult at my age. 383 I’ll have given up all the appointments I have today. It can be a disaster. But I need to take KOELLREUTTER - the music revolutions of a Zen master emanuel dimas de melo pimenta 2 0 1 0

a decision. Whatever it will be, it will change the course of my life. First of all, Tatuí must ensure that this project of remodeling will really be done, that it is a concrete proposal. I cannot go ahead with the next steps without that certainty. And I will have to have a carte blanche to direct the changes. At my age, I have to pay much attention to each step. For me, there is little time of life ahead.

I told him that, in my opinion, he should embrace the project of Tatuí – if he was very safe in legal terms, of course.

We met again in the following week and he said that, with some sadness, he had submitted his resignation to the general director of the then Paulista Faculty of Arts, for 384 whom he had a great personal esteem, and had accepted the challenge of the Conservatory and Orchestra of Tatuí. KOELLREUTTER - the music revolutions of a Zen master emanuel dimas de melo pimenta 2 0 1 0

A few days later, we traveled together to Tatuí. We would be there, along with other of his students, for two or three days, just to finalize the details, establish a comprehensive strategy and sign all documents.

I was impressed. Though I had already heard about, I could never imagine that the Conservatory of Tatuí was a so large institution!

As soon as we arrived, in the first afternoon, after the preliminary meetings with the directors and teachers, in which I didn’t participate, I met alone with Koellreutter. He had a shadowy expression, of the deepest concern. - Emanuel, we have a very serious problem. The Conservatory Tatuí is completely anachronistic, old, outdated. As we had talk, I was called to 385 transform it into a center of global importance. What I could see is that the average level of KOELLREUTTER - the music revolutions of a Zen master emanuel dimas de melo pimenta 2 0 1 0

the teachers is awful. There are some good, but they are exception. I am now leaving for a meeting with some of them. In great part, they are housewives who teach music as it was did in the nineteenth century, at best. They have no idea about what the contemporary world is, even in relation to the interpretation of ancient music. But I had an idea. This idea is the only way to solve this problem... because we cannot simply put on the road all these ladies and those teachers who seem more as retirees… and many of them really are. They have no guilt. They are victims of themselves. But on the other hand, we cannot keep them as they are. They paralyze everything, they sclerosis everything. They are jeopardizing the future of the musicians here, in international terms. 386 With them, how could we do our remodeling work? At the meeting we had, they were KOELLREUTTER - the music revolutions of a Zen master emanuel dimas de melo pimenta 2 0 1 0

explaining me how they work and it seemed me that they believe that I will be like the previous directors, someone accommodated, enjoying a good salary. But for me, being here is a great challenge! I cannot act differently. I’m not here for money. So, I thought the following idea...

Koellreutter spoke without hiding nervousness and big worries. He had changed his whole life in function of that project! And, in fact, I even witnessed something unexpected – in one of the meetings with teachers, I could see through the open door, that one of the teachers made crochet while Koellreutter talked!

But he was not a person to be depressed and stop or to be involved in such kind of situation. 387 Koellreutter was deeply practical and pragmatic. For KOELLREUTTER - the music revolutions of a Zen master emanuel dimas de melo pimenta 2 0 1 0

him, every thing that happened was an indicator of how reality manifested and, therefore, anything could be very useful evidence to establish new strategies of action. - Pay attention. My idea is this: these teachers may have a much more important function, in social terms, than they realize. They will never be able to form students to be at the level of musicians from Paris, New York or Vienna, for example. On the other hand, only few people are able to give their own existence to a life like this, sacrificing life in family, privacy, consumption, and in some cases, wealth. Most people want to play an instrument or be a musician, but they cannot, don’t want and cannot live only with music. Thus, we must separate the Conservatory in two large groups. One group, the largest, with all these 388 almost retired ladies and gentlemen, should be devoted to dilettantism. Dilettantism is very KOELLREUTTER - the music revolutions of a Zen master emanuel dimas de melo pimenta 2 0 1 0

important in society. It is actually already the case today – the students here are educated as amateurs, without knowing it. The few students who could give themselves to this life, are educated like the others. Thus, the other group, much smaller, would be dedicated to the formation of great professionals, then with an international level.

That idea seemed me very interesting. I believe that it was never tried something alike in any institution of music education. In general, everyone considers himself the greatest in the world. That idea was a way to not destroy the Conservatory as it was organized and to create concrete conditions for a formidable revolution in its educational structure.

389 When Koellreutter announced his idea to the teachers – dividing the structure into dilettantism and professionals KOELLREUTTER - the music revolutions of a Zen master emanuel dimas de melo pimenta 2 0 1 0

– the reaction was brutal.

Outside the meeting room, we could hear the most exalted. No one admitted to work for dilettantism – although that was what in fact was happening. All of them considered themselves too important for that!

Thus, for the teachers it was an insult to admit the possibility to be dedicated to dilettantes!

Each one is considered the best teacher in the world.

Koellreutter took about three hours to convince them to at least think about it.

I waited for Koellreutter outside, in the waiting room, and I could see when the teachers came out foaming with 390 hatred. KOELLREUTTER - the music revolutions of a Zen master emanuel dimas de melo pimenta 2 0 1 0

When we left the building, he had his hands behind him, heavy eyes and whispered disconsolately: - Very difficult... it will be very difficult.

A meeting of Koellreutter with all students and teachers of the Conservatory at the Procópio Ferreira theatre marked the next day – at his request, of course.

The auditorium, which had a reasonable size, was small with so many students. Some had to be seated even on the floor.

Several of the teachers did not hide their displeasure. They looked at the sides, as if all that was ridiculous.

The situation was very tense.

391 Koellreutter took the microphone and started speaking, walking in their middle of people. KOELLREUTTER - the music revolutions of a Zen master emanuel dimas de melo pimenta 2 0 1 0

- My friends, I was invited to come here, to run this institution and to do a thorough renovation in teaching methods. But to be able to do that, I ask all you three things. We can stay here as long as you want. You have any time you want to think and to give us the answers. We can even sleep here; it would be no problem for me... But I need to get out of here with answers. Without them, I cannot do my job.

The students were clearly intrigued with that situation.

Koellreutter continued talking, always with great firmness, no matter the giggling of some teachers, who were at his side: - I want to know what are you doing here, for what are you here and what you want in your lives. But to reply 392 to any of these three questions you cannot ask anyone. You cannot hear your friend, your parents, and even KOELLREUTTER - the music revolutions of a Zen master emanuel dimas de melo pimenta 2 0 1 0

less the teachers... absolutely no one ... you should just listen only to yourselves. And should not believe in anyone, not even in you. Even when you think to already have the answer, you should ask again: “why?”. Then you will be able to answer: what are you doing here, for what are you here and what you want in your lives.

Koellreutter crossed his arms and waited in front of a stunned audience. An overwhelming silence invaded the auditorium.

Suddenly a student stood up and asked him to repeat the questions. - What are you doing here; for what are you here; and what you want in your lives... – He repeated patiently.

393 The student replied with a certain irony, as if the question had been obvious – «But! We are here to listen to KOELLREUTTER - the music revolutions of a Zen master emanuel dimas de melo pimenta 2 0 1 0

you, we are here to learn what you have to teach us and we want to be musicians». - Very well, very well. But you did not answer to the most important: are you here to listen what? What my function is? What do you expect me to say? Why could I do something here? Apart from that I could say, what is the true function of what I could do? And what do you want from your lives? Of course I know you all want to be musicians. After all, we’re in a conservatory! But what kind of musician do you have in your mind? Do you want to travel during all your lives? Are you willing to sacrifice your personal life, having financial difficulties? Do you want to give your lives to a profession as that of the musician? The life is yours, not mine. I cannot come here and impose what I think. I must understand what you think. If what you think coincides with what I think, even if not completely, good... then we can do something together. But if you believe in very different 394 things... then, my presence here has no sense. KOELLREUTTER - the music revolutions of a Zen master emanuel dimas de melo pimenta 2 0 1 0

One of the teachers stood up and, trembling, very nervous, started arguing that the Conservatory already had an established program, that it had been used for many years and that it always was considered as a kind of sacred convention of that institution, and which should be peacefully accepted as it happened every year and full stop...

But, very politely, Koellreutter asked to continue listening to the students.

Quickly, the students began to speak, each one with a different answer. Everything became a huge chaos. The teachers looked at one another with even more disdain and sarcastic smiles.

Koellreutter patiently took a step back, but he did not interrupt the general discussion. His arms were crossed and 395 he calmly waited for time to change reality. KOELLREUTTER - the music revolutions of a Zen master emanuel dimas de melo pimenta 2 0 1 0

Many thought that such chaos represented the end of everything, the end of that meeting, the end of that challenge. They thought that everything was out of control.

Some teachers were visibly happy with such a possibility. One of them once remarked: «You see? It is what happens...» – freedom for students inevitably degenerates into confusion, he would have completed.

Koellreutter seemed very calm; he smiled and remained in silence.

Suddenly, one of the students asked for silence and suggested to organize a group of contact with other groups, so they could organize the different ideas and establish common answers to those questions.

396 Immediately, very well organized, it was made a suggestion to form small groups to reflect on those questions KOELLREUTTER - the music revolutions of a Zen master emanuel dimas de melo pimenta 2 0 1 0

and to bring the answers to that student who had proposed to organize the contact group. That student would be in permanent contact with Koellreutter.

Everything started to be developed very fast and dynamically. Right there, polls started to be organized, and the previous chaos turned into something very civilized.

Many teachers began to withdraw in protest.

Some students of the Conservatory of Tatuí were also students of Koellreutter in São Paulo. A great wave of sympathy and admiration was created around him.

It was decided that the working group would develop the questions with the students and that a new meeting would be scheduled in a near future. The students set a 397 deadline of three days, so that the responses could reflect a general opinion. KOELLREUTTER - the music revolutions of a Zen master emanuel dimas de melo pimenta 2 0 1 0

In the following moments, teachers commented in the corridors, very excited, that Koellreutter was an anarchist who wanted to destroy everything created by them, that his attitude would disintegrate the institution, that he was a madman... and things alike.

In the early evening of that same day, we received dramatic news: rumors said that some teachers, deeply angry about Koellreutter’s ideas, had called the police. They accused him of deviating and subverting teenagers and even that the German master made use of narcotic drugs together with the students!

The charges were absurd and unclassifiable. They happened in the form of anonymous rumors. Even considering the most profound absurdity, we had to leave Tatuí and 398 immediately return to São Paulo. KOELLREUTTER - the music revolutions of a Zen master emanuel dimas de melo pimenta 2 0 1 0

That great conflict in the Conservatory of Tatuí created a profound division between students and teachers, between who were in favor of Koellreutter and those who were against him.

Several students and teachers supported his ideas, but they were not sufficient to surpass those who abhorred them.

Emanuel Pimenta, concert with dancers, and musicians of Tatui orchestra, MASP, São Paulo, 1983

399 I continued friend of several members of the orchestra KOELLREUTTER - the music revolutions of a Zen master emanuel dimas de melo pimenta 2 0 1 0

of Tatuí with whom I made some interesting concerts at the large auditorium of the MASP Modern Art Museum of São Paulo Assis Chateaubriand.

Not all teachers in Tatuí had that attitude against Koellreutter. There were some, though few, true heroes who understood what was going on and always defended him.

Like the conductor José Antônio Pereira, who was his friend forever. But not many, and Koellreutter was eventually expelled.

At the end of 2009, José Antônio Pereira wrote me about Koellreutter: «his methodology at the lessons of harmony was the best I’ve ever witnessed. Each harmonic law was practiced, analyzed, understood, valued. It was surely this the difference that permitted Isaac Karabtchesvky 400 and Benito Juarez to have had an so excellent performance... The Choir of the University of São Paulo, headed by Benito KOELLREUTTER - the music revolutions of a Zen master emanuel dimas de melo pimenta 2 0 1 0

was based on hearing. Although the master had a profound knowledge on the subject to offer to the students, he initially put knowledge in practice and only later he presented the theory, working on the practice. (...) I remember that he asked the students to close their eyes, even when they formed a group. He believed that there was a kind of synchronicity, of coincidence, linking all. (...) I remember how he loved so much the owls...».

Until his death – although he had been director of that institution for some time – almost all references to his presence in the Conservatory seem to have been erased.

However, in 2010, the web site of the Conservatory of Tatuí registered, in a text by Camila Frésca, those difficult moments: «When José Coelho de Almeida left the institution, Hans Joachim Koellreutter assumed it, he was already famous 401 in Brazil both as teacher and musical personality. When he moved to Tatuí, Koellreutter and some teachers who arrived KOELLREUTTER - the music revolutions of a Zen master emanuel dimas de melo pimenta 2 0 1 0

with him tried to establish a methodology that was being applied in other institutions such as the Music School of Bahia and the Free School of Music in São Paulo. This had as a starting point a humanistic and wide musical education, which was not limited to technical information. In practice, one of the changes proposed by Koellreutter was the abolition of pre-established curriculum. The program of education should take into account the social, professional, intellectual and mental situation of the students. Thus, it would be more individualized, specially made for each class. It would be maintained, however, a “minimum curriculum” comprising, according to Koellreutter’s words, “composition, aesthetics and analysis as main disciplines, and other basic ones: elementary theory, that is, musical semiotics. Composition should be individual, not in group, unlike improvisation”. Another change would be the elimination of regular tests. Yara Caznok, who during the period of six months was teaching in 402 Tatuí, tells that the receptivity of the students was great, but the old teachers saw those changes with fear. “Koellreutter’s KOELLREUTTER - the music revolutions of a Zen master emanuel dimas de melo pimenta 2 0 1 0

idea was to modernize the Conservatory Tatuí, take it out from the idea of the traditional for traditional’s sake. According to him the tradition is made up of innovations, so to be new is nothing more than follow the tradition”, she says. However, Koellreutter himself said that the abolition of the academic curriculum has brought many problems under the administrative point of view. Thus, the experience, although rich and exciting, was not well accepted by a large portion of the community at the Conservatory. In fact, the opposition surpassed the limits of the institution and generated strong protests that eventually condemned the permanence of the composer in the direction of the institution».

That was extremely extenuating for Koellreutter. It was a hard impact. He had fed dreams of great works in Tatuí and everything had been destroyed by an authoritarian and reactionary group of teachers! Or, at that moment, had the 403 dream exceeded his usual pragmatic view? KOELLREUTTER - the music revolutions of a Zen master emanuel dimas de melo pimenta 2 0 1 0

In any case, after what happened, he had lost his job. He had given up of all his contracts and it would take some time to redo them.

404 KOELLREUTTER - the music revolutions of a Zen master emanuel dimas de melo pimenta 2 0 1 0

13

A few days later, when the souls were less exalted, we talked about what had happened and about his delicate and fragile situation. - Very difficult... very difficult... Now, I amin a very difficult financial situation. I have my duties, my compromises. How can I do? I no 405 longer have a job. At my age it is not easy... It will be very difficult... My friend, possibly I am destroyed. KOELLREUTTER - the music revolutions of a Zen master emanuel dimas de melo pimenta 2 0 1 0

He was really worried and frankly discouraged.

I had an idea that could save him.

I was a close friend of the poets Augusto and Haroldo de Campos – I always had a deep admiration for both of them. Apart of our friendship, I also was a student of Décio Pignatari at PUC Catholic University in São Paulo for post graduation courses on semiotics. We had a very nice group of students, together with the critic Luiz Antônio Giron, the poet Philadelpho Menezes and the musicologist J. Jota de Moraes among others.

Décio and I had a weekly program dedicated to contemporary music, at USP FM Radio of the University of São Paulo.

406 In the beginning, the program – called CODA and that lasted for five consecutive years – also had the participation KOELLREUTTER - the music revolutions of a Zen master emanuel dimas de melo pimenta 2 0 1 0

of the visual artist Fernando Zarif. For several months, our speaker was William Bonner, who would become famous later.

Holger Czukai and Emanuel Pimenta, at programme Coda, Radio USP, São Paulo, 1984 (photo by Ennio Brauns)

In those days I was responsible for the graphic design and editing of Décio Pignatari’s visual poem Vocogramas, made for the Octavio Paz’s magazine Plural, in Mexico City, among others. Along five years, religiously every Thursday, 407 we had a long brainstorming at my atelier of architecture in São Paulo. Thus, there were many links between us. KOELLREUTTER - the music revolutions of a Zen master emanuel dimas de melo pimenta 2 0 1 0

Follower of Ezra Pound and Roman Jakobson, Décio Pignatari was considered one of the most important masters on Semiotics all over the world. Haroldo de Campos was a great poet and philosopher, several times indicated to the Nobel Prize.

I found that if Koellreutter could give a post-graduate course at PUC Catholic University of São Paulo, he would be able to survive for several months, until things be rebalanced.

But, all steps should be taken with utmost discretion and speed.

I spoke to Décio, who entered in contact with Haroldo. Later, I also met Haroldo – I liked him immensely. Once, at that epoch, we did together an improvisation at the Cultura 408 TV, in national network, he with his poems and I at the piano with one of my pieces. KOELLREUTTER - the music revolutions of a Zen master emanuel dimas de melo pimenta 2 0 1 0

I suggested to Haroldo that Koellreutter could make a more developed version of his basic course of introduction to aesthetics as a post-graduate course at PUC. But he felt that it would be virtually impossible due to the rigid doctoral program of the university.

There was no time to lose. Koellreutter’s financial situation was serious and rapidly degenerating. He was not young, already almost seventy years old and Brazil lived a devastating hyperinflation crisis.

I explained to Haroldo, asking for all confidentiality, the situation in which Koellreutter was. They knew each other since a long time, but had never become friends. The deep admiration was mutual.

409 Harold had the brilliant idea of changing the name of Koellreutter’s course – originally Introduction to Aesthetics KOELLREUTTER - the music revolutions of a Zen master emanuel dimas de melo pimenta 2 0 1 0

– to Intersemiotic Systems. It was perfect because, in fact, the course was about intersemiotic systems!

The letter of invitation was sent and the timetable was scheduled, everything very quickly.

But I received a phone call from Koellreutter, very depressed, asking to meet him. I went to his house. Koellreutter was deeply discouraged. He was prohibited from teaching that course at PUC University because he did not have academic background consistent with the university’s exigencies for post graduation courses!

I was stunned. He was one of the great masters all over the world. He had formed great musicians in diverse countries and in the most different areas for decades. He was the alive connection to the universe of great German 410 thinkers. He represented a revolution in musical education and even in Brazilian music. But he was prevented from KOELLREUTTER - the music revolutions of a Zen master emanuel dimas de melo pimenta 2 0 1 0

teaching at the postgraduate department because he had no adequate academic training; he did not have a bureaucratic certificate attesting his competence!

People often forget that his enlightenment influenced even the birth of bossa nova!

411 Hans Joachim Koellreutter - photo by Emanuel Dimas de Melo Pimenta in São Paulo, in 1999 KOELLREUTTER - the music revolutions of a Zen master emanuel dimas de melo pimenta 2 0 1 0

I was shocked when I knew that. I ran to talk again to Haroldo and suggested that the university should give him an honorary degree, honoris causa. It would surely be a matter of great honor for the university. Koellreutter was a personage with international recognition. And so, he would automatically be qualified to teach at the post graduation department.

Haroldo de Campos moved mountains and quickly the title was given to the German master.

That course, lasting six months, would give Koellreutter enough time to restructure his life.

Later he also received the title ofdoctor honoris causa from the Federal Universities of the States of Bahia and Ceara. 412 Haroldo de Campos, who not only was of the greatest KOELLREUTTER - the music revolutions of a Zen master emanuel dimas de melo pimenta 2 0 1 0

intellectual luminaries of the twentieth century, was a deeply generous soul and was more than happy to have helped Koellreutter.

In a few days all the vacancies for the course were met.

The course was a great success!

Very interesting facts happened in those classes. Many of the students were there to complete credits for a PhD on Semiotics and, more specifically, about the thought of Charles Sanders Peirce whose ideas were the basis of the course on Theory of Thought, internationally recognized as one of the best, if not the best at that time.

Even so, Charles Sanders Peirce’s brilliant ideas, 413 which should be understood in their dynamics, are usually structured in rigid closed classifications and departments KOELLREUTTER - the music revolutions of a Zen master emanuel dimas de melo pimenta 2 0 1 0

systems, contrary to its original conception.

When Peirce established categories, he always did in relational and relative terms, inside a paradoxical and non- linear strategy.

Koellreutter had never studied Peirce’s Semiotics. He knew only superficially the ideas of the American thinker.

He was a musician, a composer and a master of fundamental importance – but belonged to a different “world”.

Not that that his “other world” did not justify a program dedicated to Peirce – on the contrary. It was a unique opportunity for the students to expand their ideas and confront key issues of semiotics, recalling elements from 414 another universe. KOELLREUTTER - the music revolutions of a Zen master emanuel dimas de melo pimenta 2 0 1 0

But sometimes, less enlightened students, more oriented to rigid classification tables, did not understand that difference.

In one of the lessons, Koellreutter pondered about what was the understanding of the symbol in India. His explanation departed from the etymological analysis of the word symbol, which means co-incidence.

He added that in Indian music, for example, a morning raga, was the morning itself, while pure quality. In this case, the music – he explained – was the symbol of the morning. Both music and morning coincided; they fell together as a single phenomenon. That music simply could not even exist in another moment of day. If performed at a different moment of the day, it would be another music.

415 In Peirce’s conceptual universe, such phenomenon would be more consistent with the concept of icon, being KOELLREUTTER - the music revolutions of a Zen master emanuel dimas de melo pimenta 2 0 1 0

a firstness. To Charles Sanders Peirce the designation of the symbol implies reason, that is: a thirdness.

In any case, in last instance, from the moment we understand something, everything implies reason.

Suddenly, as soon as he finished the explanation, a small group of students, very arrogant in the certainty of their vast knowledge, seemed to be outraged. In a sudden way and with a tone of clear superiority, they launched an aggressive interrogation against Koellreutter, paralyzing the class and trying to ridicule him.

But what was the importance of that intervention, massacring the old German master only to feed the ego of beardless aspiring philosophers?

416 Koellreutter was visibly intimidated by that aggression. The inquisitors intentionally used technical terms that KOELLREUTTER - the music revolutions of a Zen master emanuel dimas de melo pimenta 2 0 1 0

escaped from the composer’s repertoire.

That time, I studied semiotics not only with Décio Pignatari but also with the genial Roti Nielba Turin, who was master of my dear friend, the brilliant poet Paulo Leminsky.

So, I knew very well that repertoire. Charles Sanders Peirce was always a central reference in my life.

At a given moment, when the arrogance exceeded the limits of the acceptable, I intervened and politely asked those students to understand something beyond the rigid departmentalization process they were so involved. I asked them to be more aware of the paradoxical conditions of the dynamic established by Peirce, to the fact that a sign always implies its relations... and so on.

417 Quickly, the discussion shifted to my side and I assumed the clear defense of Koellreutter – rapidly being supported KOELLREUTTER - the music revolutions of a Zen master emanuel dimas de melo pimenta 2 0 1 0

by the entire class.

I think I ended up not being very friendly with them, but they were deliberately putting Koellreutter in an extremely difficult situation without any need or serious justification.

When this aggressive and sterile debate started, one of the students, Alberto Marsicano, sitarist who lived in India and was a disciple of Ravi Shankar in London, just got up and left the room.

Then, it was the time of those boring students of semiotics to go out, they considered themselves too important to remain there. In that way, finally, they left all us in peace.

Marsicano deeply suffered to witness such kind of 418 discussions. During the classes – he always sat in the first row just in front of Koellreutter. Once the class began, his eyes KOELLREUTTER - the music revolutions of a Zen master emanuel dimas de melo pimenta 2 0 1 0

turned up, he was paralyzed with open arms, half opened mouth, and sometimes drooling.

Students jostled each other asking if he was drugged.

Never! He entered in trance, in order to absorb the best possible each one of Koellreutter’s words.

Koellreutter himself was surprised with the states of trance of Marsicano. - My friends, you do not know what is this. Very interesting! He goes into deep trance. He is totally focused during class. In India this is common. But in Brazil, it is the first time I see something alike! Remarkable! – he commented later.

Our classes of composition continued normally, each 419 time with increasing depth, now in his apartment at Avenida Luiz Antônio. KOELLREUTTER - the music revolutions of a Zen master emanuel dimas de melo pimenta 2 0 1 0

Sometimes I met other students. The composer Chico Mello was one of them. How many times we walked to the same sides in the city, not infrequently we went together and always stopped in the way for a coffee.

Chico was also studying medicine and had a great doubt about what he would do in the future. He lived in Curitiba and often went to São Paulo, especially to study with Koellreutter. Later, we lost contact. Many years later, I knew that he had moved to Germany.

At that time, Koellreutter was not interested in any music that was not erudite and contemporary. He was focused on the metamorphosis of music as complex systems – and that meant high repertoire.

420 I had an old and great admiration for Hermeto Pascoal. I always considered him a genial musician. One of the reasons KOELLREUTTER - the music revolutions of a Zen master emanuel dimas de melo pimenta 2 0 1 0

why I chose the transversal flute as my main instrument was to have heard, as a child, one of his unforgettable interpretations.

I asked if Koellreutter had ever attended to a concert by him. Never! – it was the short answer. I asked why the reason for a so radical refusal? - Because in the end it is always the same thing. They play always the same. I’m not interested. He can be very good, but it is another world. I do not have time to hear everything!

I asked if he liked the Indian music. It clearly was a provocative and absurd question. The answer was, of course, yes!

Hermeto Pascoal is one of the great improvisers of all 421 times. Indian music is pure improvisation. If he would attend to the concert, but being aware of the awesome Hermeto’s KOELLREUTTER - the music revolutions of a Zen master emanuel dimas de melo pimenta 2 0 1 0

talent of improviser, his impressions on the Brazilian musician would radically change – I suggested. - I will think on it, I think...

Few months later, in one of our lunches, he told me how the experience to attend to a concert by Hermeto Pascoal had been. I think it was at a jazz festival. Koellreutter went there with another of his students. - Emanuel, yesterday I attended to a concert of Hermeto Pascoal. I went with one of my students who, like you, also loves his music. You were right; he really is a great musician, a great improviser. He is fabulous. He reminded me, in fact, some Indian musicians. And the musicians who work with him are also very good. Very interesting. It was a very interesting experience.

It was not necessary too much time until the situation 422 was reversed. There was a concert by a famous Brazilian composer who performed himself, his compositions for KOELLREUTTER - the music revolutions of a Zen master emanuel dimas de melo pimenta 2 0 1 0

piano.

We were both invited and decided to go together. On the invitation was written that the musician was one of the greatest exponents of contemporary music all over the world.

For my surprise – until then I’d never listened anything about that musician – it was a terrible spectacle.

The composer tried to reconstruct the romantic music of the nineteenth century, taking it as contemporary and sorting of post-modern. He believed he was a new Franz Liszt.

The reasoning was simple: only ancient music could be true music, a fact before which all should be submitted 423 as the only way out for the music of the future... as if music would need way outs. KOELLREUTTER - the music revolutions of a Zen master emanuel dimas de melo pimenta 2 0 1 0

There, everything was profoundly reactionary. Each piece intended to be a replica of other times and, of course, those ideas were diametrically opposed to everything we believed.

In the world, all relations had been transformed; the whole planetary reality was morphed. Everything changed. Practically, we no longer had monarchies. People were linked by telephones, by television – they no longer rode a horse.

But that composer, so nostalgic of imperial times, was a true athlete on his instrument ... His music simply did not exist as rupture, as he proposed it. But it also did not exist while past.

It was an accidental and painful kitsch exercise. 424 At the end of the show, we left the theater and I KOELLREUTTER - the music revolutions of a Zen master emanuel dimas de melo pimenta 2 0 1 0

firmly commented him what he thought. For my surprise, Koellreutter did not criticize him. - You’re right. But each has his or her own life. He is not proposing to do something different. He proposes to do what he does and he does well. He thinks that this is rupture. It is the judgment of value it does. It may be something you do not like, I do not like, but these opinions, likes and dislikes, they are only judgments of value – and, therefore, they don’t mean that it’s good or bad. It may be that we are not interested in that kind of music, as I’m not. But that is another matter. In any case, I had to come. We must not be engaged too much in too passionate issues.

425 KOELLREUTTER - the music revolutions of a Zen master emanuel dimas de melo pimenta 2 0 1 0

14

My concerts became more and more frequent. Many times I performed at the large auditorium of the MASP Modern Art Museum Assis Chateaubriand of São Paulo, the Museum of Image and Sound, the legendary Lira Paulistana theater, but there were also hearings in Japan, Portugal or Canada. 426 Since the late 1970s my musical work as composer, was oriented to what I called logical traps. KOELLREUTTER - the music revolutions of a Zen master emanuel dimas de melo pimenta 2 0 1 0

Emanuel Pimenta, concert at MASP Modern Art Museum of São Paulo, 1982

The key issue that always designed my work was to know how knowledge happens and how we can subvert it, because only difference produces the consciousness, as so often said Koellreutter.

427 So, the natural sequence was to study Peirce’s semiotics, neurology and logics. KOELLREUTTER - the music revolutions of a Zen master emanuel dimas de melo pimenta 2 0 1 0

Gradually Koellreutter and I started having serious discussions, especially during the class of composition. They were passionate debates.

He argued that any composition should have aform , a beginning, a middle and an end. I argued that this could not be the objective when one has in mind rupture, subversion, because the logical environment of literature was exactly that and we were diving inside another universe, of hyper media, in a highly interactive planet.

But! For him, without form perception simply could not exist!

Then, I argued saying that if the musical structure obeys to a different logic, without beginning, middle or end; 428 if we no longer worked with harmony, melody and rhythm, but with clouds of complex sounds or elements established KOELLREUTTER - the music revolutions of a Zen master emanuel dimas de melo pimenta 2 0 1 0

according to different principles of order, then we would have subversion, we would have change and the emergence of the consciousness.

The establishment of form, as he understood it, had been a revolution of other world, o a different epoch. Now, everything became more subtle and a rupture, a metamorphosis in music, would implicate a new conception of form. − But! Perception is not possible without form! - he insisted - How could exist subversion without perception? − What if the form would no longer as we know it, but that could be established by each person in his or her own cognitive act, as a kind of environment? - I answered him.

429 I used the concept of environment as the artificial intelligence universe understands it. In this way, we passed KOELLREUTTER - the music revolutions of a Zen master emanuel dimas de melo pimenta 2 0 1 0

to discuss the construction of cellular automata I’d built.

At that time, my concerts could last four hours or sometimes even more. − After a certain point there is no more communication! - he claimed - You should not make so long pieces.

But under the long duration of my compositions another question was present. When music passes to beenvironment , it becomes what we call intelligence, producing a transformation, a metamorphosis in all our values, including time itself. - I insisted. − So, my friend, you’re not a musician, but a designer of sounds! - he shot, and I automatically remembered the famous statement of Schoenberg about John Cage, according to which John was not a musician, but a philosopher. He knew very well 430 that story and his provocation was so ambiguous as clearly intentional. KOELLREUTTER - the music revolutions of a Zen master emanuel dimas de melo pimenta 2 0 1 0

Koellreutter started refusing to attend to any of my concerts. I left tickets at his home, I sent invitations... but he never showed up.

But one day I spoke with him very seriously about that, saying that it was a shame his refusal to attend to my performances. After all, I was his student and friend! Then he promised to be present in the next one, but ensuring me that it would be a disaster, due to my ideas.

However I had always admired him and profoundly respected him, I could not go against what we both defended as principle. Thus, I did not care with what he predicted – the important to me was the result.

The day arrived and the concert happened. 431 It was a concerto for eight violins, singing, radio, paper KOELLREUTTER - the music revolutions of a Zen master emanuel dimas de melo pimenta 2 0 1 0

and computers. It was in 1983. Through the curtains I saw he was not in the public for the beginning. I thought that, once again, he would not appear.

But in the middle of the concert there was a moment when I could withdraw for few minutes because there was a long solo on paper made by other musicians.

Quietly, I left the stage, went behind the stage, entered the backstage, to the room and, in the darkness, I saw that Koellreutter was there. He had arrived in the dark just after the start of the concert. He was alone, sitting on one of the last chairs in the back. The theater was occupied by about two-thirds.

Quickly, so discreetly as I went there, I returned to the stage. At the end of the concert, when the lights were turned 432 on, we were lucky, everything went well, and we received an ovation for several minutes, but he was not longer there. KOELLREUTTER - the music revolutions of a Zen master emanuel dimas de melo pimenta 2 0 1 0

He had left before the end!

I was deeply outraged. I called him and, very gently, I asked if something had happened, saying that I was worried because I had seen him in the theater and when the concert ended he was no longer there. − Yes my friend ... take the direction you want. I left before the performed ended to not need to tell you what I think about it... Come to talk to me.

So I did. I went to his home to talk to him. Koellreutter was very nervous. He said I was a waste of time, that I did not understand anything about music, that everything I had made there, in the theater, simply “was not”, “did not exist”. He added that he would never accept my concept of musical form! 433 That approach was unacceptable. He wanted to KOELLREUTTER - the music revolutions of a Zen master emanuel dimas de melo pimenta 2 0 1 0

impose, at all costs, his own principles of composition. But he had defended himself, throughout his entire life, that we should never believe anyone, much less the teacher!

It was him who always argued, with all his determination, the permanent questioning spirit!

I wrote him a long letter saying very clearly that it was absurd that situation, denouncing his remarkable inconsistency.

It was the end of 1983. I had a lesson class of the year with him, but I did not go. I simply did not appear. He wrote a letter and a message saying that he had been waiting for me.

His paradoxical attitude had been shocking to me.I 434 decided to let time change reality - I had learned from him. KOELLREUTTER - the music revolutions of a Zen master emanuel dimas de melo pimenta 2 0 1 0

Finally, he called. We had a meeting and a long conversation. We talked at length about many technical and philosophical issues.

After this meeting, our friendship became even stronger.

The classes went on as usual in the next year, along a few weeks, always with discussions that were more and more animated. But now, they were peaceful. They were profound reflections on the nature of music, on communication, on the human being.

To me, those discussions were delicious, because it was a way to keep me in deep and dynamic questioning. They were a permanent exercise of logics.

435 His main argument was that only within certain parameters we can create the shock, the difference. KOELLREUTTER - the music revolutions of a Zen master emanuel dimas de melo pimenta 2 0 1 0

By my side, I was convinced that our entire sensorial palette is inevitably interlaced inside a large logical network, that is, inside a large network of principles of order, principles of differentiation. Changing part of such network, we generate a wave of turbulence and we change states of consciousness. But for that it is necessary to trap our own minds.

Not only, I argued that creative participation of people was an essential thing – and even if they did everything wrong, the most important was the experience because we are always changing, every moment and, in fact, there are no errors, but experiences.

I realized that some things I said made him be intimately disturbed, as if part of his world had collapsed. But it could 436 be a false impression. His expression almost did not change. KOELLREUTTER - the music revolutions of a Zen master emanuel dimas de melo pimenta 2 0 1 0

He had elaborated the concept of integrating paradox – that was equivalent to the principle known as the logic of the third included established by the famous mathematician Stephanne Lupasco.

Sometimes it was as if I was coming from another planet. What I advocated seemed to be, in some sense, unacceptable to him.

On the other hand, that situation of permanent tension obliged me to study more and more, to go deeper in the roots of the questions. The level of our classes became more and more complex. − You are a positivist! - he provoked me once, at the end of a class.

But, how could I be a positivist? The structure of what 437 he was apparently determined to defend – founded on the beginning, middle and end, in predication – was what had KOELLREUTTER - the music revolutions of a Zen master emanuel dimas de melo pimenta 2 0 1 0

generated, in logical terms, the positivism!

For me, at that epoch, his attitudes were deeply strange. I had the feeling that, even with sympathy, he acted intentionally to provoke my reactions, each time deeper and more aggressive, as the great master he was. − You must go out from Brazil. At least for a while. What are you doing here?

In a certain sense, would not be his pieces Tanka, or even Acronon, free of predication, free from the principle- middle-and-end domination?

When I argued that, he patiently passed to explain again the formal fundamentals of his compositions.

On another occasion, during a class of composition, 438 he did not contain himself: − You are an idealist! KOELLREUTTER - the music revolutions of a Zen master emanuel dimas de melo pimenta 2 0 1 0

− Why? − Well, because you want to change the world. − But I do not want to change the world! I do not intend to change anything. The only thing is what I am. And I am change in a changing world.

Koellreutter listened to my words and let out a small laugh. − Okay. You can call it as you want. The truth is that there are things in your own mind that you are not able to notice. And these things are the reason why in India is often said that the most dangerous enemy of a human being is his intelligence, like an accident that happens in our life. Because everything is illusion.

They were roots for a new reflection, which would continue in the next class. 439 That situation made me to study each day more and KOELLREUTTER - the music revolutions of a Zen master emanuel dimas de melo pimenta 2 0 1 0

more, and to structure each time more clearly my own aesthetic principles.

That happened in 1984.

Unexpectedly, in one of the classes of composition, on a Saturday at eleven o’clock in the morning, as soon as I entered in his apartment, he said, just at the entrance, coldly, that he would no longer be my teacher. - I don’t have anything more that I can teach you. - he said crossing arms and without showing a hint of emotion in his voice. Then, immediately invited me to lunch.

I was shocked, deeply shocked. But I kept calm. We had our usual drink and went to lunch.

440 In that lunch we talked about almost everything. We discussed the ideas of Douglas Hofstadter, who had recently KOELLREUTTER - the music revolutions of a Zen master emanuel dimas de melo pimenta 2 0 1 0

launched the famous book Gödel, Escher and Bach - An Eternal Golden Braid. We plunged into the enigmatic ideas of Kurt Gödel, who fascinated we both.

I accompanied him back home. When we said goodbye, it was the first time I hugged. It was a long, tight and warm hug.

Koellreutter almost never shacked hands. To everyone, without distinction, his compliment was made simply joining hands in front of his face, as always happens both in India and Japan. − It’s more hygienic. - he said joking.

That day he said goodbye with a long hug. An attitude that would be always repeated in all our future meetings, until his disappearance. 441 That day was very confused to me. I loved his classes. KOELLREUTTER - the music revolutions of a Zen master emanuel dimas de melo pimenta 2 0 1 0

With their end, a great void appeared. In fact, his decision was a great compliment. But he ended our relationship as master and student. On the other hand, he inaugurated a new phase of a long friendship relation.

With that period of tension, he had led me to a process of permanent questioning and to an each time deeper dedication to the studies.

We replaced the classes by lunches.

Every time he was in São Paulo, we scheduled at least one lunch.

Our friendship was quickly expanded. When Margarita was present, she always was very helpful, friendly and vibrant. 442 Margarita Schack was one of the greatest mezzo KOELLREUTTER - the music revolutions of a Zen master emanuel dimas de melo pimenta 2 0 1 0

sopranos of the twentieth century. Because of her exquisite technique and versatility she was compared by many to Cathy Berberian, also mezzo soprano, wife of the composer Luciano Berio.

Despite she immensely loved Brazil, the country was not profound enough to absorb a so great talent. To sing was her life and for that it became necessary to travel continuously.

It was not easy for her, because if in the beginning, to constantly travel is often funny, over the years it can become extremely stressful and painful.

In addition, the life of a permanent traveler is deeply lonely.

443 Even so, despite the intense travels, the heavy agenda, the Margarita has never ceased to be a happy, dynamic and KOELLREUTTER - the music revolutions of a Zen master emanuel dimas de melo pimenta 2 0 1 0

exuberant person. When she arrived in any place, it was impossible not to look immediately at her.

Continued travels as well as living in India and Japan had amplified even more her musical universe.

They got married in June 8 1963. A year before, Koellreutter had won the Ford Foundation Prize and lived for some time in Berlin.

Two years after marriage, they went together to India.

Margarita was not only Koellreutter’s dream, but also a tremendous explosion of energy.

In 1985, Luciana and I traveled to Rio de Janeiro 444 especially to know the new home of Koellreutter and Margarita, which was located in the neighborhood of Urca. KOELLREUTTER - the music revolutions of a Zen master emanuel dimas de melo pimenta 2 0 1 0

To arrive there it was necessary to enter in a closed street with gates and security. A few yards away, it seemed that we were in another country. It was a kind of island, protected from everything.

The house was very comfortable and had a fabulous view. The long piano, which before was in the apartment of Laranjeiras, was now as if it would be floating over the sea.

Margarita was extremely happy. In the moment Luciana and I entered in that magnificent hall, she had already opened a bottle of champagne waiting for us.

It was very hot, the day was sunny and the sky was completely blue. We talked at length. It was the first time I really talked to her. In between our words, I could see a 445 person of culture full of love for life exploding in her brilliant eyes and in her fast thinking. At that time she was especially KOELLREUTTER - the music revolutions of a Zen master emanuel dimas de melo pimenta 2 0 1 0

interested on philosophy.

She told that her greatest desire was to buy a dog for the new home and, especially, an akita, the dog of the Imperial Palace in Japan. She asked me if I could help her.

Although I love animals, none of the dogs I had during life had been purchased. They were always given or found – which was not possible in the case of a rare akita.

Despite my remarkable ignorance on that subject, I did not hide, I propose to ask some people in São Paulo and considered that, very possibly, it would not be difficult to discover where to find an akita.

When I arrived in São Paulo I called a dear friend, Magali Mussi, who then was in her early career as mezzo soprano. 446 We had become friends in the 1970s, at the preparatory school for the university admission tests. We had done KOELLREUTTER - the music revolutions of a Zen master emanuel dimas de melo pimenta 2 0 1 0

some concerts together, especially at the MASP Modern Art Museum of São Paulo. Besides being a great singer, Magali is a wonderful human being.

I knew that she knew many people and I had the intuition that she could help.

Magali has always been very sweet, gentle and open to help anybody.

Two or three days later she called back me saying she had managed to find a seller of akita dogs in São Paulo – it seems that it was the only one at the time.

I immediately called Margarita, who took the first plane to São Paulo. The breeder lived in a very luxurious home in the neighborhood known as Jardins, made by a 447 British company called City in the nineteenth century, very near the classic Paulistano club. KOELLREUTTER - the music revolutions of a Zen master emanuel dimas de melo pimenta 2 0 1 0

Margarita was thrilled and overwhelmingly in love with the beautiful dog – which, I think, surely was very expensive. It was a really beautiful animal, with a strong personality.

The meeting between Magali and Margarita was magical, as if they already were great friends for centuries.

A few days later, Magali – always very shy – told me how much she would love to study with Margarita. She was afraid to ask her directly because she knew Margarita was one of the greatest singers in the world and had virtually no available time for new students.

I talked to Margarita and she immediately became teacher of Magali, with great enthusiasm – «But! Magali could have told me! She is a wonderful person, a great friend!». 448 I think that later Magali was also a student of KOELLREUTTER - the music revolutions of a Zen master emanuel dimas de melo pimenta 2 0 1 0

Koellreutter. Her talent did not stop to expand. In addition to a remarkable mezzo soprano, she became a great teacher.

Months passed and I no longer met Margarita. Times later, I called Rio de Janeiro, to speak to Koellreutter, but he was not at home. She attended the phone. I noticed how her voice was somber, sad, empty and devastated.

I asked, almost automatically, about theakita dog and for a black nail she did not cry. «Something terrible happened. The dog no longer exists. I do not want to talk more about this. It’s a closed case».

I did not insist. I never got to know the tragedy that had befallen to the poor animal. Margarita was visibly shaken for several weeks.

449 Such was the relationship between Koellreutter and Margarita Schack – lots of travels, lots of music, a profound KOELLREUTTER - the music revolutions of a Zen master emanuel dimas de melo pimenta 2 0 1 0

admiration and mutual complicity combined with a state of independence that was not common in Brazil. Often, due to frequent travels and consequent separations, people did not understand that relationship.

To him, she was a goddess. But he never showed publicly such feelings. Koellreutter never showed any sign of his private life. When he did, very rarely, it was inserted into a strict framework of a friendship relation, deeply personal. When he spoke about her to me, it always was with great admiration. − Margarita is a great artist. She is very important.

Koellreutter almost never spoke about his feelings.

Even so, he was a deeply emotional person, but only those who had shared his friendship for a long time were 450 able to see how much sensitive he was. KOELLREUTTER - the music revolutions of a Zen master emanuel dimas de melo pimenta 2 0 1 0

When he spoke about someone, it obligatorily was because of practical and objective questions, never subjective. − My friend, gossips are not my world. - he always said with humor.

In 1985 I performed my composition The Sea, at the 18th Biennale of São Paulo. It was not easy. The project was very audacious. It was a concert for four orchestral ensembles sprout out through the building of the Biennale.

Several weeks after have being officially invited, having everything agreed, and only three months before the date of the concert, I was laconically informed that there would no longer be any money for it, but only for the other ones!

From one day to another there was no money to hire 451 musicians. But everything was since long scheduled! KOELLREUTTER - the music revolutions of a Zen master emanuel dimas de melo pimenta 2 0 1 0

I talked with Sigrido Leventhal – one of the most fascinating persons I met. Koellreutter had called him. Sigrido put at my disposal all students in his conservatory, with the condition that I could convince them, of course.

I visited class by class, explaining the project in details, and in a single day I had the four orchestras assembled. But it would still be necessary almost three months of very intensive rehearsals ahead.

Throughout the entire concert, The Sea, only one musical note is played. For this composition I made an analysis of the spectral formation of harmonics in each musical instrument. I designed a score taking as its basis underwater surveys of the Pacific Ocean, more specifically on a region near the Mariana Trench. Deepest the place, the greater mass of harmonics would be. 452 I designed another map of subtle pitch fluctuations. KOELLREUTTER - the music revolutions of a Zen master emanuel dimas de melo pimenta 2 0 1 0

This made that the shock of the overtones in the air generated more resultant sounds and from that single musical note people could listen to a large number of other ones. That piece was inspired on Stockhausen’s Stimmung, but it is structured and operates in a quite different way.

Emanuel Pimenta The Sea, Biennale of São Paulo, 1985 The Sea was a great success. It was awarded with the APCA Prize by the São Paulo Art Critics Association, AICA 453 Section, of received several articles published in various newspapers and magazines. KOELLREUTTER - the music revolutions of a Zen master emanuel dimas de melo pimenta 2 0 1 0

Koellreutter never appeared in any of the presentations, which happened twice in the Biennale of São Paulo and one at the large auditorium of the MASP Modern Art Museum of São Paulo Assis Chateaubriand.

His strange attitude caused my perplexity. On one hand, it was as if he wanted to be distant. On the other, it was as if he wanted to strengthen our ties of friendship. It was deeply paradoxical.

Now, our meetings, always in lunchtime, were long and full of reflections. Many times, the lunches lasted over four or even five hours.

We had “our” Japanese restaurant. We were always there. It was a restaurant I often went with friends long 454 before I met Koellreutter and, coincidentally, he also went there regularly. KOELLREUTTER - the music revolutions of a Zen master emanuel dimas de melo pimenta 2 0 1 0

Once I took him to a Japanese restaurant specialized on cuisine from northern Japan, which had just been opened in the neighborhood of Liberdade.

Liberdade is a neighborhood of São Paulo where the Japanese colony is concentrated. It is the largest population of Japanese people outside Japan all over the world. In the streets many things are written in Japanese. It is as if it was a part of Tokyo.

Koellreutter and I always appreciated Japanese cuisine, but especially sashimis and makis, which are made with raw fish. In the early 1980 still were not many fans of raw fish in Brazil. − You are one of my only students who like raw fish, as I like. - he told me in one of the first times we went out 455 for lunch at a Japanese restaurant. The truth is that, over time, the number of people who started enjoying KOELLREUTTER - the music revolutions of a Zen master emanuel dimas de melo pimenta 2 0 1 0

raw fish in Brazil increased significantly. Koellreutter knew very well the rituals of the Japanese table. We drank sake, always hot – but sakes of good quality.

This time, the new restaurant, with typical dishes from the interior of Japan, not from Tokyo or Kyoto, promised a surprise – which finished to be not very pleasant.

Our lunch went well and I returned there two days later for a dinner with a friend. I had a violent intoxication. Koellreutter called my home repeatedly, several times a day. He thought I had been poisoned by fugu and that I would die.

Also known as blowfish, fugu is a fish with a terribly deadly poison – which is released when the cut is not well done, and it has no taste. 456 I was unconscious along almost two days, with high KOELLREUTTER - the music revolutions of a Zen master emanuel dimas de melo pimenta 2 0 1 0

fever and delirium.

Fortunately, it was not a fugu poisoning, and I survived. Even so, that experience was not enough to get me away from the delicious Japanese delicacies.

We both enjoyed very much the Japanese cuisine. Once we arrived to a restaurant, he began to speak in Japanese with the waiters.

He spoke nine languages at ease – including Hindi and Japanese.

The attitude of sincere friendship, our lively discussions during the long lunches, the exchange of ideas about strategies of composition, about aesthetics, about the planetary metamorphosis and his preoccupation with me 457 were totally opposed to his cold distance in relation to my concerts. KOELLREUTTER - the music revolutions of a Zen master emanuel dimas de melo pimenta 2 0 1 0

I asked him what was the reason for a so strange behavior: warm when we were together and so far at the point to keep not going to my concerts. − My dear friend, now you have to fly. I cannot be around.

I immediately understood the reason of his behavior – he continued always being a great master.

458 KOELLREUTTER - the music revolutions of a Zen master emanuel dimas de melo pimenta 2 0 1 0

15

John Cage also participated in that great event of the Biennale of São Paulo. The filmmaker Rodolfo Nani had introduced us very briefly.

On the last day, when I was convinced that there would be no opportunity to talk with John Cage, Augusto de Campos realized what was happening and provided me, by his purely personal initiative, a brief moment alone with him.

459 A few months later, John Cage invited me to collaborate with him, with David Tudor and with Merce Cunningham in New York City. KOELLREUTTER - the music revolutions of a Zen master emanuel dimas de melo pimenta 2 0 1 0

Then, Luciana and I moved to Europe, first to Portugal, and in another few months I was collaborating with René Berger in Switzerland – he also became a great friend for life.

In Locarno, where I would fix residence in 2003, I collaborated with René Berger and Rinaldo Bianda at the celebrated Locarno Video Art Festival, together with Nan June Paik, Francis Ford Coppola, Edgar Morin, Daniel Charles and Basarab Nicolescu among many others in 1980s and 1990s.

In 1990 I started collaborating with the Baroness Durini, in Italy, in several projects for the Triennale of Milan and the Biennale of Venice, but also at the art and culture magazine RISK Arte Oggi.

460 In 1989 I participated in the parallel launching of the www world wide web by Tim Berns-Lee in Locarno. In KOELLREUTTER - the music revolutions of a Zen master emanuel dimas de melo pimenta 2 0 1 0

1993, always together with René Berger, we made the first television transmission through Internet and in that same year, still with René, but also with Edgar Morin, I participated in the formation of the first university in Internet. With John Cage and Merce Cunningham there were concerts around the world, but also other musical events with my works, and lectures, exhibitions... In that period various of my audio compact discs and books were launched in diverse countries and different languages.

Those novelties seemed to encourage even more Koellreutter in each one of our meetings. With my move to Europe, they began to happen every time I went to Brazil. − You will be one of the only among my students who will continue living outside of Brazil. Not because there or here are better or worse places. They are different 461 places, just that. But is the way you are. When a person moves, changing his place, his music also changes - he KOELLREUTTER - the music revolutions of a Zen master emanuel dimas de melo pimenta 2 0 1 0

becomes another person. If you are living in New York, for example, your music will reflect your experiences. The same will happen if you stay in Europe...

To him change was something essential for everybody. − Moving to a different country gives another dimension to the musician. He is forced to live different realities. He is obliged to question himself more frequently.

We started regularly talking by phone, but in general they were short conversations – we both never had the habit of talking for long minutes on the telephone.

I always called him, and over many times at least once 462 a month, to see how he was. KOELLREUTTER - the music revolutions of a Zen master emanuel dimas de melo pimenta 2 0 1 0

Koellreutter smoke pipe, but never ever cigars. I also smoked pipe, even before to have known him – I was very young and sometimes I was criticized for smoking pipe at that age.

463 Hans Joachim Koellreutter - photo by Emanuel Dimas de Melo Pimenta in São Paulo, 1999 KOELLREUTTER - the music revolutions of a Zen master emanuel dimas de melo pimenta 2 0 1 0

Influenced by friends at school I started smoking cigarettes when he was very young, at nine years old. I smoked hidden. When I was eighteen, I arrived to smoke four packs a day, which amounted eighty cigarettes! That would be my destruction! I swam and was a flutist – incompatible activities with the cigarette.

The best friend of my father, right hand in his company for decades, and a very good friend of mine, also a German, like Koellreutter, but born in Heidelberg – his name is Alfred Gerard Schwarz – was also flutist and has always been a lover of the pipes.

To smoke a pipe requires a special knowledge, a few steps without which the person may even cause serious injury in the tongue. In relation to health, pipe has many advantages over cigarettes – because you cannot take the 464 smoke to the lungs and the smoke usually doesn’t have so many chemicals. KOELLREUTTER - the music revolutions of a Zen master emanuel dimas de melo pimenta 2 0 1 0

Thus, Alfred Gerard Schwarz was a big influence on me to start playing transversal flute and he was my master in the art of pipe, teaching me even how to cure them with the most varied flagrances.

Pipe smokers have their secrets, which range from the form of the pipes to the types of tobacco.

Like Alfred Gerard Schwarz and me, also Koellreutter only smoked straight pipes – the so-called Italian ones. But while I especially enjoyed black Cavendish tobaccos, his preferred tobacco also was his personal trademark: Revelation.

However, apparently because it contained some substance condemned by health services, the tobacco 465 Revelation stopped to be marketed in several countries. Only in Switzerland I could find it. I passed to regularly bring that KOELLREUTTER - the music revolutions of a Zen master emanuel dimas de melo pimenta 2 0 1 0

tobacco to Koellreutter, who waited anxiously.

When we met and I gave him the packet of tobacco he said, laughing: − Thank you! It’s my salvation!

Later, already living in Europe, I also started smoking cigars. Once, still in the early 1990s, in one of my trips to Brazil, I asked why he refused to smoke cigars. − Because it destroys the lips. A flautist should never smoke cigars. They soften the lips. On the other hand, pipe is supported by teeth, leaving free the lips, and so they are not affected. − But, Tom Jobim smokes cigars! And he is an excellent flutist. − There is a big difference between an excellent flutist who doesn’t live from concerts and other one living 466 from them. If he were a flutist of concerts, he should not smoke cigars. In any case, do not forget that Tom KOELLREUTTER - the music revolutions of a Zen master emanuel dimas de melo pimenta 2 0 1 0

uses a special mouthpiece for cigars. With it, he can hold the cigar in his teeth and not with his lips.

In fact, the mouthpiece used by Tom was owned by Villa-Lobos before, it was a gift from the violinist Arminda D’Almeida, Dona Mindinha, widow of the composer.

Again, I asked him how Tom Jobim was, how he was as a person, in what only the intimacy of friends permits to know. Like Chico Buarque de Hollanda, Tom had also studied architecture.

Koellreutter was the first professor of Tom Jobim, when he was only fourteen years old.

Tom studied with Koellreutter during the years 1939 and 1940, who gave him many of the principles that would 467 coin the bossa nova, twenty years later. When one could imagine that Germany is, in some way, present in the roots KOELLREUTTER - the music revolutions of a Zen master emanuel dimas de melo pimenta 2 0 1 0

of bossa nova?!

Many times he told me that he wanted to introduce we both, and also to one of his students in India, who regularly wrote him. Unfortunately, I did not personally know any of them.

Koellreutter replied, smiling: − Tom Jobim is a different man. He likes to drink whiskey and to play piano. He loves to be with people. He is not a closed musician, a composer who goes to his desk to work, who closes himself inside a room and is separated from other people. He enjoys to be with people, playing all the time, like an amusement. He is a very interesting person. A friend of his friends. You personally know him. I have always spoken about you to him. We have met many times in Rio. 468 In all those years, each time I was in Brazil, I took KOELLREUTTER - the music revolutions of a Zen master emanuel dimas de melo pimenta 2 0 1 0

Koellreutter for lunch.

Our lunches regularly happened even before I moved to Europe. In early 1980 one of our favorite places was a restaurant called Fiorella, in the neighborhood of Brooklin, in São Paulo, coincidently where I was born.

It was very far from his home, but the restaurant was spectacular.

In fact, Fiorella was a restaurant installed in a very comfortable ancient house, with excellent vegetarian cuisine. In all its spaces there were many plants and artworks. It was a magical place. There were several rooms, each one very different from the others, giving the feeling like we’re in our homes. Everyone who worked there were college students. There was no sign or any kind of indication on the street. 469 Actually, only who knew went there. KOELLREUTTER - the music revolutions of a Zen master emanuel dimas de melo pimenta 2 0 1 0

Many years later, when I already lived part of my life in New York City, I would know there the person who had created that magical place: Martin Penrose, a visual artist, with very interesting works. I told him about our frequent lunches at his restaurant. He was delighted to know that Koellreutter loved so much to be there.

To be at Fiorella was like being in another world. Everything was covered by contemporary art, plants, flowers, with very comfortable chairs and an excellent cuisine.

Were always had least one bottle of cold white wine, frascati, from Italy.

We passed hours talking about the most varied subjects. Once, we spoke for many minutes about the state of memory beyond the Schwarzchild boundary in direction 470 to a black hole singularity. How would memory be in such a condition? Would it be disintegrated by gravity force? KOELLREUTTER - the music revolutions of a Zen master emanuel dimas de melo pimenta 2 0 1 0

Or would it maintain its integrity, despite the so powerful asymmetric forces of that environment.

We did not have answers, neither specialized education to have them. But, the reflections were very interesting and they launched us to considerations about the nature of time and order.

Many years later, when Stephen Hawkings demonstrated that, surprisingly, memory would be preserved in those conditions, I spoke with René Berger, in Switzerland, about the same subject. We were amazed with the revelation that, after all, the Universe seems to be a formidable accumulator of memory.

Both Koellreutter and René Berger loved science. In a certain sense, everything turned around it. 471 With Koellreutter, however, the conversations were KOELLREUTTER - the music revolutions of a Zen master emanuel dimas de melo pimenta 2 0 1 0

many times focused on the different approaches of East and West to reality.

But beyond Fiorella and the Japanese restaurants in the neighborhood of Liberdade, we passed, already in the 1990, to be at the Japanese restaurant that was on the top floor of the Hotel Caesar Park, at Augusta Street.

In August 1994, when I was in Brazil, we went to have a lunch there. I had no time to say anything and Koellreutter asked me: − Emanuel, when you will visit us again in Rio de Janeiro? Next time, I will invite you and Tom Jobim for a lunch. You need to know him personally. It is done: in your next visit to Brazil we will go all together for a lunch.

472 The meeting was scheduled for December, when I would be back again to Brazil. But Tom Jobim died few days KOELLREUTTER - the music revolutions of a Zen master emanuel dimas de melo pimenta 2 0 1 0

before, on December eight of that year and, unfortunately, we did not get to know each other.

The death of Tom Jobim deeply touched Koellreutter, who had a true esteem for him.

As people died, he expressed more and more concern about how and where to live the end of his life.

That lunch at the Caesar Park hotel was a big surprise. When I asked him about the Margarita, to know how she was, Koellreutter wide opened his eyes and asked: − But! You don’t know? − No! Did something happen? Is she well? − Margarita became a witch! − A witch? - I was not able to stop laughing, I thought it was a joke. 473 − It is serious. I’m not kidding. It is not a witch in the folkloric sense. We recently arrived from an KOELLREUTTER - the music revolutions of a Zen master emanuel dimas de melo pimenta 2 0 1 0

international meeting of people who deal with these questions, in an island in Pacific. She is very serious. And this is a serious matter. Many people do just not take it seriously. Do you think we know everything? These meetings are about what the sciences, with which we are already used, cannot explain. Before, I was married to a famous opera singer, now I’m married to a specialist on the unexplained. It is very interesting.

I was stunned. I could not expect that. I never had any preconception in relation to the supernatural world, which I always considered natural. In a humble and Socratic way I always were very aware that I know nothing.

But I could never imagine that one day the great singer Margarita Schack would devote herself to the supernatural. 474 I asked him about how the meeting in the Pacific Islands KOELLREUTTER - the music revolutions of a Zen master emanuel dimas de melo pimenta 2 0 1 0

had been and Koellreutter said with great seriousness: − Very interesting. They discussed some very interesting things that make us be aware of how deeply we know nothing.

In that same year, Margarita opened in the city of Tiradentes, in the State of Minas Gerais, an institution called Aura Soma Center, dedicated to the use of oils and colors for triggering a process of self knowledge.

In that epoch, my daughter was about four years old and I was looking for the best way I could give her some basic musical formation. Koellreutter was around eighty years old. In one of our lunches, I asked him if he could give me an orientation about what I could do about it. Then, I was especially attentive to microtones and, consequently, to not format her so young mind according to rigid tonal formats. 475 Intuitively, she already was very oriented to piano, I am a flutist, and there is almost no microtonal freedom inthe KOELLREUTTER - the music revolutions of a Zen master emanuel dimas de melo pimenta 2 0 1 0

traditional piano or flute. − String musicians are more sensitive to small changes of pitch, to work with them. When you consider a flute, for example, or even worse, a piano, all sounds are “closed” in a rigid system of pitch. You should not put her to study piano before five or six years of age. On the other hand, you should make music, that is, to organize sounds with her, using the most varied objects. You can use anything you want, toys, bells, pieces of wood, forks, paper... The sounds of the objects never follow to the classic tonal system. When she will work the dynamics, varying the intensity of the sounds, and its distribution in time, then she will be aware of the essential nature of music, that is everywhere. But it must exist an order behind. You should pass her some principles of order. And they must be very simple in the beginning. 476 I did what he suggested with Laura, and I believe it KOELLREUTTER - the music revolutions of a Zen master emanuel dimas de melo pimenta 2 0 1 0

gave her an initial formation that opened her different possibilities in different fields.

Koellreutter always asked about Laura. Once I gave him some pictures of her, and he put them in his apartment in São Paulo, revealing a great sensitivity.

Several times, with increasing insistence, after 1990, Koellreutter began asking my opinions about to where he should move again. To what country he should go, where he should live his last years of life.

He was, then, about seventy-five years old. - You know, I will not live much longer. It’s time to think about my withdraw, to go to a distant place. I want to go to a place far away from everything. Just disappear. What do you think 477 if I go to live in Portugal? I would like to live closer to you. KOELLREUTTER - the music revolutions of a Zen master emanuel dimas de melo pimenta 2 0 1 0

For months I searched to him information about all conditions, including legal, for a possible move to Lisbon. But everything seemed to be blocked. After all, it is not easy to make a change of this magnitude at seventy-five years old.

Not only, even before the Aura Soma Center, Margarita and Koellreutter had created an interesting cultural center in the city of Tiradentes, Minas Gerais. They loved Tiradentes.

How could him distanced himself from all that?

At the same time, we also agreed to make together a musical composition.

Months passed, but he continued with the idea of moving to some distant place. − It’s true. This project of mine to move is very 478 difficult. I don’t know if I will be able to do it. But I feel that I should die somewhere else. I would like to spend KOELLREUTTER - the music revolutions of a Zen master emanuel dimas de melo pimenta 2 0 1 0

my last days on an island... to live my last years on an island. What do you think about Madeira? Margarita and I really enjoy the island of Madeira. The weather is good and there is no violence.

In the following months, I tried to gather as much information as I could about Madeira Island and especially about the city of Funchal.

I know well the island of Madeira, where I have gone since my childhood. But, knowing the conditions for a move of an important composer, already at an advanced age, requires a different type of information, much more specific.

During the first years of the 1990s, he often insisted that he wanted simply to disappear, and move to an island was a strategy that seemed him appropriate, as if he could 479 just evaporate, without people noticing. − I will not live forever. Neither you. These things KOELLREUTTER - the music revolutions of a Zen master emanuel dimas de melo pimenta 2 0 1 0

related to death are too dramatic... too romantic. I’m not a dramatic person. In my case, I would like simply to disappear. Living on an island would be a good solution. A simple solution.

It reminded me what had happened in Petropolis, when he had forgotten the razor in his apartment in Rio de Janeiro.

Koellreutter was a person extremely attentive to his personal image. Even when he was over eighty years old I never saw him unshaved, unkempt, or dressing a dirty cloth.

After the 1990s he started wearing very colorful clothes. Always the same kind of shirt with turtleneck, but now in very strong turquoise blue, for example. 480 One of his great pleasures was to live surrounded by young people. In the 1990s, he started to frequently make KOELLREUTTER - the music revolutions of a Zen master emanuel dimas de melo pimenta 2 0 1 0

references to one of his students, Mauro Muszkat, and to the young visual artist Saulo di Tarso.

He had a deep esteem for Saul, for Mauro, but also for Regina Porto and many others. There are many names and it is impossible to list all them. Saulo never was his student, but he was always very close to him in the last years.

It was as if he was automatically rejuvenated by the new generations. All aged, except him. In fact, his great love never was to teach, but always to learn. He was well aware that we never taught, we only learn.

Already in late 2010s I met the pianist Marcelo Bratke in New York City. He had also been his student and reminded him with emotion.

481 The students around never felt him as an old person. KOELLREUTTER - the music revolutions of a Zen master emanuel dimas de melo pimenta 2 0 1 0

16

In 1994, I called on the first of September, Thursday, a day before his seventy-nine birthday, to invite him for a lunch. I asked if he would be free in the next day. He told me so. I was in Brazil for a few days. We schedule a time and in the next days I went to pick up him.

482 We went to lunch, as we did at that epoch, at the Japanese restaurant in the Caesar Park Hotel, in the Augusta street. KOELLREUTTER - the music revolutions of a Zen master emanuel dimas de melo pimenta 2 0 1 0

He did not know that I had remembered his birthday, or pretended not to know. I never forgot his birthdays. If I was not in the city, I always called him, from where I could be.

But that day was special. He completed seventy-nine years of life.

I offered him another plush puppet and a book. He was very touched. − You’re the first person to greet me on this anniversary. - he said with some emotion in his voice, which was not common in his behavior.

He was seventy-nine years old and was alone. But it was not something unusual – he was always alone. 483 − I have a great necessity for silence and to be alone. They are essential conditions of my life. I need time to KOELLREUTTER - the music revolutions of a Zen master emanuel dimas de melo pimenta 2 0 1 0

study, to think – he said.

I decided to organize a dinner for him, few days later, inviting some important artists. Of course, I assured that no one would know that it was about his birthday. He would be so embarrassed if people knew about his birthday, that he surely would refuse to go. But, going discreetly, as if it was a simple meeting among friends, that would be a real gift for him.

But there was a serious problem. I no longer lived in Brazil already about ten years and it was very difficult to find a place where we could hold that meeting.

No one was willing to help. Until suddenly a lady I knew since many years, typically bourgeois with a home decorated in a very pretentious and very kitsch way, full of decorative 484 canvases on the walls, not to mention the books and bottles of whiskey to decorate the environment, very kindly offered KOELLREUTTER - the music revolutions of a Zen master emanuel dimas de melo pimenta 2 0 1 0

us to have the meeting there. That was the appearance of the place.

At first, I vacillated. But the lady was very friendly and fairly generous. That was her world. Who could be us to judge the personal world where people live? Why are people always fighting among themselves and full of preconceptions? After all, wouldn’t be the real world our essential very first raw material? Don’t we work for the people? We don’t make our work for artists, but for the world, for the people, not matter who they are!

To Koellreutter – who fought all live against preconceptions of any nature – that house would represent no problem.

I remember that among the artists there were Cláudio 485 Tozzi, who was a great friend of mine, Maurício Nogueira Lima, who for years was a brother to me, unfortunately KOELLREUTTER - the music revolutions of a Zen master emanuel dimas de melo pimenta 2 0 1 0

disappeared some time later, along with many other good friends.

Koellreutter and Emanuel Pimenta, São Paulo, 1999

Koellreutter dressed a fabulous red Indian jacket 486 embroidered with color figures. He was visibly happy that eveniing. There were almost eighty years of age. KOELLREUTTER - the music revolutions of a Zen master emanuel dimas de melo pimenta 2 0 1 0

But the kitsch appearance of the house strongly affected at least one of the artists, a friend of Claudio, who was not able to be stay for a long time. He tolerated only about half hour and left in despair.

When, more than midnight, I brought Koellreutter to his house, he told me how much he had enjoyed to have met some old friends, and to have talked so animatedly with those people. − You know Emanuel... Over time, we become more and more isolated. It is the life, my friend... it is the life... Now rarely I go out. I have no one to talk, no one with whom I can exchange ideas... To speak interesting things. Next year I will be eighty years old... time passed to fast!

487 At that time, he was working to finalize the operaCafé , which had libretto written by the legendary writer Mario de KOELLREUTTER - the music revolutions of a Zen master emanuel dimas de melo pimenta 2 0 1 0

Andrade. It was a work that consumed a long time. Mario de Andrade finished the libretto in 1942, Koellreutter began writing the music when he lived in Tokyo between 1974 and 1975. He would finish it only in 1996. Twenty-two years of elaboration!

Throughout the year of 1996, we talked many times about that opera. It was a remarkably lively period for him. Koellreutter seemed to be very happy, always in contact with many people.

He seemed not age. He seemed simply to have stopped in time. He was becoming more vegetarian and, at least when he was with me, he never exaggerated in alcoholic beverages.

In early 1998, I composed the concerto Difesa della 488 Natura, for a film about Joseph Beuys, directed by Marco Agostinelli and produced by Lucrezia De Domizio, Baroness KOELLREUTTER - the music revolutions of a Zen master emanuel dimas de melo pimenta 2 0 1 0

Durini, in Italy. This concert was dedicated to Koellreutter.

I had dedicated another concert to him fifteen years earlier, in 1983. Then, it was an electro acoustic concert also using digital systems, synthesizers, magnetic tapes, metallic pieces, small ensemble of metals, dwarfs, speakers and a computer controlled by heartbeats. The world premiere happened at the theater SESC Pompéia, in São Paulo.

Emanuel Pimenta, score of the concert dedicated to Koellreutter 1983

489 KOELLREUTTER - the music revolutions of a Zen master emanuel dimas de melo pimenta 2 0 1 0

In that same year of 1998, a compact disc with the concert Difesa della Natura was published in England, and I immediately sent it to Koellreutter. Once received, he called me, saying that he was very touched.

Some common friends wrote or telephoned me telling about how much Koellreutter had enjoyed that music.

Emanuel Pimenta concert Difesa della Natura (1998), dedicated to Koellreutter, performance at the Swiss mountains, 2004

490 KOELLREUTTER - the music revolutions of a Zen master emanuel dimas de melo pimenta 2 0 1 0

It was a strange feeling to me, because during all those years he had always remained extremely distant of judgments about my works.

Even when I studied with him, specially at classes of composition, he never stated that a determined work was good or bad. The most he was able was to ask how I had considered what I had done. − My friend, we all know what is happening. We ask the next because we are not able to listen to ourselves. And sometimes we cannot listen because we talk too much. So, it is you who must answer about what you do. You must learn to know how to answer to yourself. - he had said this many years before, in one of our classes.

Now, he said – even if never directly to me – that he 491 liked my works. And that sounded like an interesting surprise, as something unexpected. KOELLREUTTER - the music revolutions of a Zen master emanuel dimas de melo pimenta 2 0 1 0

A few weeks after I have sent himDifesa della Natura, I visited the city of São Paulo. I found him very excited, in excellent shape.

Although he had never spoke about his feelings and had avoided judgments of value, when I entered in his apartment I realized that two of the compact discs I had sent with the music dedicated to him, were intentionally placed on the piano and another on the table at the Kremlin – the small room full of colorful plush puppets – as if they were in an exhibition.

It was a timid way of saying how much he had enjoyed that homage.

While we were at his apartment, he did not say a single 492 word about the composition or about the compact disc – and I did not ask. KOELLREUTTER - the music revolutions of a Zen master emanuel dimas de melo pimenta 2 0 1 0

Only later, when we had lunch, he said, very shortly, that he enjoyed the composition and thanked again for the dedication.

That was a year full of news for Koellreutter. Three years earlier he had celebrated eighty years of age. In a few months Funarte, the Brazilian National Foundation of Arts, would launch in compact disc format a disk that had been released in 1985, with works dedicated to him by several composers.

The compact disc included a piece by Koellreutter, It was Constellations, composed between 1982 and 1983, when I studied with him. It was a concert for voice, seven solo instruments and magnetic tape. His composition was based on a work by the concrete German poet Eugen 493 Gomringer, born in 1925, an admiror of the pioneer and celebrated Brazilian group of concrete poetry Noigrandes. KOELLREUTTER - the music revolutions of a Zen master emanuel dimas de melo pimenta 2 0 1 0

His poem said: Your time my poem / Your time my silence / Your time my dream. Gomringer’s Constellations is a work with a transnational and transcultural design, merging words from many different languages around the world - as always Koellreutter believed.

I attended at the world premiere of Constellations in 1985. It was a concert that had Koellreutter as regent. It caused all kinds of discussions in public. It was a true polemic.

The compact disc also had works by Willy Corrêa de Oliveira, Jorge Peixinho, Cláudio Santoro, Ricardo Tacuchian, Rodolfo Coelho de Souza and Gilberto Mendes with the concert My Friend Koellreutter. The sound engineering was up to the composer Conrado Silva.

494 I returned to Europe. KOELLREUTTER - the music revolutions of a Zen master emanuel dimas de melo pimenta 2 0 1 0

Few months later, still in 1998, I went back to São Paulo. As always, we arranged to have lunch together – and again at the Japanese restaurant of the hotel Caesar Park, at Augusta street, in São Paulo.

But this time he asked me not pick up him athis apartment. We would go independently and meet in the restaurant. − Tomorrow I’ll have a very important meeting in the morning. But I believe that it will not take a long time. It is something very serious. I will tell you at lunch. I hope everything will go well. Please, think positively for me.

I asked about what was of so serious, if I could be useful in some way. − Tomorrow we will talk. There is nothing you can 495 do. - it was the only thing he said. KOELLREUTTER - the music revolutions of a Zen master emanuel dimas de melo pimenta 2 0 1 0

I was unquiet. His voice was serious. What could be so serious? Would be some new invitation for an important work? Some unexpected new challenge? Despite his age, everything was possible with him. I suggested once again to pick up him, not matter where. He did not accept. I insisted again. And again he refused. − We will talk tomorrow. - and he ended the conversation.

In the next day I arrived at the restaurant fifteen minutes before the scheduled time, as I always did when we agreed a place to meet. For the first time, he was late. I was a little worried. About twenty minutes late he finally appeared. He was firm and resolute as ever, but with a serious look, very worried.

I asked, very gently, if the meeting had gone well. He 496 turned the face to the window, with a lost sight, and moved the head. KOELLREUTTER - the music revolutions of a Zen master emanuel dimas de melo pimenta 2 0 1 0

− Later we will talk about this... - and I, of course, I decided to not insist.

He was visibly depressed and I started animating him with a variety of issues.

We talked about Brazilian politics, on planetary macro- economic questions, on philosophy, scientific discoveries, technological revolutions. We lunched and, gradually, his lively and alert mood was going back to normal.

But I could clearly see that something very serious was troubling him.

At the end of the lunch, he looked at me with a very serious expression and revealed what was happening. − Emanuel, I have a secret to tell you. But it is 497 extremely confidential. Nobody knows and for now nobody should know. You have to keep secret. It’s KOELLREUTTER - the music revolutions of a Zen master emanuel dimas de melo pimenta 2 0 1 0

about the meeting I had this morning. - he spoke heavily and with long pauses as if he was measuring his own words – I’m just returning from the doctor... few minutes ago. I came directly to the restaurant. Because of this I was late. You’re the first person that will know and I don’t know yet to how many more I will tell. I did some tests and the doctor found that I have Alzheimer.

His words were like a large meteor falling on Earth.

Everything changed, all reality, immediately. Suddenly I was pale. He had tears in his eyes. But still tacit and phlegmatic as ever.

I asked if he was absolutely sure about the diagnosis. His appearance was completely normal. During the lunch 498 we had talked on the most diverse and complex themes. In no moment he had any leak of memory. In fact, I had more KOELLREUTTER - the music revolutions of a Zen master emanuel dimas de melo pimenta 2 0 1 0

trouble remembering names than he. I asked how he had discovered something so serious. − All exams clearly indicates that. Unfortunately, there is no margin for doubt. Suddenly I started to forget things. It started relatively quickly. Sometimes I left my home and did not remember where I was, what I was doing there or why I had gone to a particular location. These oblivion moments began to be more frequent and began happening also with smaller things. I decided to go to a doctor, my friend. We made all examinations. I’m coming from there now. Yes... my dear friend... such is life... I never expected for something like this... But, how can we expect such a kind of things? We never think that it can happen to us.

I asked if there was any way out. What could be done? 499 If there was any solution. He laughed and discreetly sighed. − Way out? No... There is no way out. It is what I will KOELLREUTTER - the music revolutions of a Zen master emanuel dimas de melo pimenta 2 0 1 0

have ahead. And is not good... not good... it will be very difficult. Very difficult times ahead. A very difficult end, very sad...

Suddenly he was paralyzed and stood with lost staring for long seconds, as if the world had stopped at that exact moment.

Everything became silence.

I could not say a single word, my soul was strangled. He turned to me and said as firmly as ever: − Yes... my friend... so it is life. There is nothing I can do. It’s terrible.

We remained still for several minutes in the restaurant, until everyone had gone. We talked at length about life and 500 death, about the metamorphoses of life, about dharma, karma, about science and religion. KOELLREUTTER - the music revolutions of a Zen master emanuel dimas de melo pimenta 2 0 1 0

From there, we went to his apartment. But I did not enter. I stopped the car illegally in front of the door of the building. I went out to say goodbye and he hugged me for long seconds.

The news about the disease had been devastating.

In the following months, we continued talking on the phone. I did not immediately return to Brazil.

In those several telephone calls he seemed to be very well, the same as always. Those conversations became more and more longer, as if we looked, somehow, to compensate the inevitable physical distance.

We avoided talking about the disease. I just insisted 501 that he should verify with his doctor about the benefits of gincko biloba and also of phosphatidylserine, which then he KOELLREUTTER - the music revolutions of a Zen master emanuel dimas de melo pimenta 2 0 1 0

did not know yet.

The weeks passed and he seemed me so well that I arrived to imagine that some revolution in medicine in the treatment of the disease had happened.

We started to put into practice the plans for our joint composition. There were some difficulties in the beginning. He found difficult to do a job together being so far away. I suggested that we should make two separate compositions to be joined later – as I always worked, inspired by Antonin Artaud, but, of course, also by John Cage and Merce Cunningham. He challenged me to find another solution. We imagined to make the composition in fragments, sending it by fax or post services, each one filling with a new element at each step. But the human contact, the discussion, the brainstorming was something fundamental for him. 502 In this epoch he was guest professor at the Advanced KOELLREUTTER - the music revolutions of a Zen master emanuel dimas de melo pimenta 2 0 1 0

Studies Institute of the University of São Paulo.

In October 1999 I was cooking in my house in Lisbon, waiting for some friends. They promised to bring a very special friend who had arrived in that same day, coming from Brazil.

Surprisingly, the architect and urban planner Jorge Wilhelm entered in the kitchen of our home! I had known him many years before, in early 1980, when I was a student of architecture. Our meeting had been at Emplasa, which was a company dedicated to develop the first master plan for the city of São Paulo – with which Jorge collaborated.

It was a great surprise to meet him almost twenty years later, in Lisbon, in my kitchen!

503 Jorge Wilhelm had been a student of Koellreutter at the Free School of Music, created in 1952. KOELLREUTTER - the music revolutions of a Zen master emanuel dimas de melo pimenta 2 0 1 0

We talked at length about the political situation in Brazil, about the problems of urban violence, the widespread corruption, on education.

Then he commented to have met Koellreutter by chance, days before, walking at São Luiz avenue, in São Paulo. They talked about Mozart’s Don Giovanni. Jorge said that he found him very aged, but that he was with a good memory.

Of course, I did not tell him about the Alzheimer. But, I was relieved to know that Jorge Wilhelm’s impressions were so positive. Koellreutter was eighty-five years old, and it was natural that he appeared to be old.

In November of that year, I visited São Paulo and I had lunch with Koellreutter, as our tradition was. 504 He seemed to be fine. Áurea – who worked at his KOELLREUTTER - the music revolutions of a Zen master emanuel dimas de melo pimenta 2 0 1 0

home in São Paulo for many years – was always present.

During our lunch he did not show any problem of memory. − Yes... my friend... I’m feeling very well. In fact, I always felt very well. When I had those “oblivions”, I was not aware of them, of course. Thus, even when I had memory problems, I felt good. But now I have to take medication for life and I cannot do certain things. All my food has changed. Alcoholic drinks are completely prohibited for me. Many things have changed in my life... many things... I had a small cerebral ischemia. The doctor told me that now the decadence will begin. He told me that it is inevitable. I’m living my last moments of normalcy. I’ll have tough times ahead... and they are close. The best is to forget, by now, our plans for a musical composition together. 505 From now on, everything will be very difficult for me. KOELLREUTTER - the music revolutions of a Zen master emanuel dimas de melo pimenta 2 0 1 0

Of course I agreed. I knew that if the decline began, our joint composition would never exist.

I noticed that since then, about 1999, his public statements and interviews began to change rapidly, becoming more spirited. Not only, they have become much more frequent and he began to speak more intensely about his personal life – something very different from what he was.

It was as if, suddenly, he had become more expansive and contradictory with much of what had always characterized him and what he had always defended throughout life.

His statements and interviews became colorful with images that arrived, at a certain point, to be childish, sometimes denying historical facts, sometimes exaggerating family scenes, including tactile elements like jerks or kicks. 506 It was as if his personality before direct, philosophically KOELLREUTTER - the music revolutions of a Zen master emanuel dimas de melo pimenta 2 0 1 0

precise, challenging, radical, impassive and apparently non emotional, had given place to the figure of anold playful man, full of inaccuracies, contradictions, superficial in philosophical terms, with soft behavior, using slang and popular figures of expression.

In some moments he started showing even a nationalist feeling in relation to Brazil – something totally opposite to what he had expressed along his entire life. − All countries, all cultures, all religions and all sacred books are interesting and have important values, lessons we can learn. Religions, as institutions, as well as States, only divide people. When you go to a different country, try to observe what more characterizes it. In Brazil, they are the television series. In the United States they are the movies. Each country has its typical form of intercommunication. If you observe at these 507 media as if you were an extraterrestrial, you would be able to better understand the values of that society. KOELLREUTTER - the music revolutions of a Zen master emanuel dimas de melo pimenta 2 0 1 0

We should, all us, be citizens of the world, free from inter-social or inter-cultural conflicts. There is no place for nationalism or preconception. - Koellreutter had told me that about twenty years before.

Now, after the late 1990s, people with whom he chatted and even some experienced interviewers seemed not to notice his new boundaries between fantasy and reality – even because until then he rarely gave interviews, especially when they target at his personal history.

In January 2000 I called him in São Paulo, from Lisbon, where I was living. He seemed to be well. But it was a very short talk.

I had spent several days in December and January, at the Seychelles islands, writing the book John Cage – The 508 Silence of Music, and after a brief passage in Lisbon, I was constantly traveling between Italy and Switzerland for KOELLREUTTER - the music revolutions of a Zen master emanuel dimas de melo pimenta 2 0 1 0

concerts and exhibitions.

That large quantity of trips made me not talk to Koellreutter until the month of April of 2000, when I went back to São Paulo.

I called him to schedule a lunch, as usual. But he seemed lost, very vacillating. In the middle of our conversation by phone, he forgot who I was. He asked with whom he was talking. Then he knew again who I was, like if a wave had rescued his memory. It made me very sad. Even so, we arranged our lunch for two days later, on a Thursday.

I knew that Jorge Wilhelm would love to be with Koellreutter again. I called Jorge and we arranged lunch for all together.

509 Dulce Cabrita, dear friend, great Portuguese mezzo soprano, who worked very closely with the composer KOELLREUTTER - the music revolutions of a Zen master emanuel dimas de melo pimenta 2 0 1 0

Fernando Lopes Graça throughout the entire life, was also in São Paulo. Joanna, Jorge’s wife, very gently insisted that we were all invited for lunch at their home.

Confidentially, I told Jorge that Koellreutter suffered of Alzheimer. It was my duty to tell him. He was very attentive and insisted that we should keep everything as we had planned.

On Thursday, twentieth of April, I went to pick up Koellreutter at his apartment, as I’d done along many years. As always, I rang the bell and took a few steps back. But now, for the first time, the door was quickly open and who appeared was not he. Áurea was who opened the door.

When the door opened, I could see him in the other side of the room fixed staring out the window, seated at the 510 table, where for many years I’d studied with him. His eyes were lost. He wore a turquoise blue shirt, and KOELLREUTTER - the music revolutions of a Zen master emanuel dimas de melo pimenta 2 0 1 0

a kind of smock made of silk. He rose, walked toward me, grabbed my shoulders and looked at me long and intently.

It was a shaky look. His lips were no longer straight and rigid as before. They were softer, more flaccid. − It’s so good to see you... it is good to see you. - he repeated - How long we do not see each other? Two years? Two years already passed?!

I was deeply embarrassed, not knowing what to say. «Yes, two years!» - Áurea summarized, as to put an end to the matter. Maternally, she seemed to be very attentive about him. She verified if he was well dressed, if he had not forgotten anything, if his clothes were neat.

Koellreutter showed a vacillating smile and I could see that he had already lost some teeth. He staggered a little. 511 Áurea was euphoric – she told he was closed at home for weeks. Virtually no one called him. KOELLREUTTER - the music revolutions of a Zen master emanuel dimas de melo pimenta 2 0 1 0

However, his general appearance was very good. And soon, his memory seemed to return and he was the same Koellreutter of ever. − How your wife and your daughter are? You should come here more often! - he spoke with the firm determination so characteristic before.

We went down by the elevator and I could see that one of his eyes were dull, as if it was slightly stained of white. My look did not pass unnoticed to him. He explained me that he had cataracts in both eyes and that he had already been operated on one of them.

That quick response, the presence of mind and his ability to understand what I was thinking, eased my fears that he would have been definitively and deeply isolated by the disease. 512 I had left the car in a parking lot near there, afew KOELLREUTTER - the music revolutions of a Zen master emanuel dimas de melo pimenta 2 0 1 0

streets away. Luciana preferred to stay closed inside the car, fearing assaults, which were many and violent in that region.

On the way to the parking lot, Koellreutter walked normally, with relatively safe steps, like in other times. Before, he ran ahead – and it was difficult to follow his steps, which were full of energy. Now, we were side by side, I always paying a lot of attention to all his movements.

When we reached the parking, Luciana – always wonderful – left the car and I realized that Koellreutter was very touched. They had not met each other in about fifteen years! It was like to meet again a loved friend, someone of the family.

On the way to Jorge and Joanna Wilhelm’s home, he 513 said very excited that one of his sons was living in England. Margarita would have definitely moved to Tiradentes, Minas KOELLREUTTER - the music revolutions of a Zen master emanuel dimas de melo pimenta 2 0 1 0

Gerais, where they had created a foundation. As he was telling his news he also asked, from time to time and repetitively, how long we have lived outside Brazil. - How long ago you were my student? - About twenty years ago. - I answered. - It is not possible! It seems like yesterday! - It’s true... - I answered smiling. In fact, also to me it seemed to have been yesterday. - Where are we going now? - his question was baffling... - We are going to lunch with Jorge Wilhelm. Do you remember him? - I asked. The day before we had talked about that lunch and Jorge for several minutes. - Yes, of course. He was my student. - His wife, Joanna, is a brilliant psychoanalyst. - I added. 514 - So she is very dangerous! - he joked opening his eyes and laughing heartily. KOELLREUTTER - the music revolutions of a Zen master emanuel dimas de melo pimenta 2 0 1 0

We stopped at a traffic light for long moments. Alongside it was a small improvised stand of a street vendor, surrounded by colorful toys, and plastic balloons.

Koellreutter admired amazed, almost hypnotized, that exuberance of colors and shapes that passed unnoticed to people walking on the sidewalk.

Unexpectedly, a very dirty woman, with matted hair, hands black of grease and gray, scars on the arms and face, wearing old and torn clothes, almost toothless, approached by pasting his face to the glass of the car, right nextto Koellreutter, asking for money. The window was closed. He looked surprised at her as if he was a child, naively smiling. The woman made all kinds of gestures and he found very funny and innocent that dramatic scene. 515 Jorge Wilheim was waiting at the gate of his home. KOELLREUTTER - the music revolutions of a Zen master emanuel dimas de melo pimenta 2 0 1 0

The meeting was clearly an emotion for Koellreutter. Jorge had been his student about forty years before.

Dulce Cabrita had already arrived. Initially all us sat in the living room and talked about amenities on Brazil and Portugal.

I looked at Koellreutter and, in some moments, it seemed me that he was not understanding what we were talking. But suddenly, he seemed to tune in and made a joke, with some very keen and witty observation.

Joanna carefully watched him.

How much he had changed in so few weeks!

However impressive and tragic, it was fascinating to 516 see how his shutdown from the world was not linear and gradual. It happened in leaps. He was turned off and came KOELLREUTTER - the music revolutions of a Zen master emanuel dimas de melo pimenta 2 0 1 0

back. When he returned, it was not by half. When was reconnected to the world, he was able of insights, of very clever and complex interventions.

Though we could see those ‘disappearances’, everyone treated him with great warmth, affection and attention - as if nothing of strange was happening.

Koellreutter was immensely happy. And we were all deeply moved by his visible happiness.

Koellreutter and Jorge Wilheim, São Paulo, 2000

517 KOELLREUTTER - the music revolutions of a Zen master emanuel dimas de melo pimenta 2 0 1 0

The lunch was simply wonderful. Joanna had prepared a veritable babette’s feast. We started with a fine souffle of haddock and figs. Followed by bittersweet beets, caramelized onions, manioc flour with walnuts, wild rice and meat – that surely was delicious, but as a vegetarian, I did not have tried.

Not only a brilliant psychoanalyst, Joanna also is a great artist of the cuisine.

Without we had planned or said a without a single word, we felt in the air the feeling that such formidable lunch was a farewell meeting, the celebration of a lifetime. In his moments of lucidity, Koellreutter was brilliant, as always. In the moments he was turned off, it was as if he was alone, in another world, in an island.

518 The lunch went over wonderfully, in peace and joy. KOELLREUTTER - the music revolutions of a Zen master emanuel dimas de melo pimenta 2 0 1 0

On leaving, Jorge asked him a few questions about the past. I noticed that this time, that the oblivion was partial. Koellreutter was able to remember some things but not others. Thus, the fluctuation was not linear in all senses.

It was also interesting to observe that at a given time, Koellreutter himself practically justified his absences of memory as if he was fully aware of them and as they were a natural process. − I am not able. I’m sorry. It is as it happens. Sometimes I lose my memory. Sometimes I’m not here. But then I come back... - he said joking, with great sympathy. − I understand... I understand. - said Jorge.

That dialogue was very unexpected for me. Despite his “oblivions” there was an interaction and a framework for mutual identity. 519 Finally, there were the farewells and entered into the KOELLREUTTER - the music revolutions of a Zen master emanuel dimas de melo pimenta 2 0 1 0

car – Luciana, Koellreutter and I – because we would take him back home. In the way, he was asking me repeatedly if I really knew where he lived. − Can you do me a favor? - he asked. − Of course! − Could give a big hug to Augusto de Campos for me? − Of course, with pleasure. − Do you know where I live? Because recently I moved. Now I live at São Luiz Avenue...

He had moved to the apartment at São Luiz Avenue about thirty years before! − Did you make your homework? − But! I am no longer your student... − You are not?!

520 And I had to explain him, calmly and carefully, that time had passed, that he did not remember, but that everything KOELLREUTTER - the music revolutions of a Zen master emanuel dimas de melo pimenta 2 0 1 0

was okay... At such moments, he seemed to be very insecure and lost.

He floated between consciousness, unconsciousness and moments in the past.

521 Hans Joachim Koellreutter - photo by Emanuel Dimas de Melo Pimenta in São Paulo, 2000 KOELLREUTTER - the music revolutions of a Zen master emanuel dimas de melo pimenta 2 0 1 0

We could not park the car in front of the entrance of the building where he lived. It was not allowed. I stopped, again illegally. I went out to say goodbye. We hugged. But when I told him I would not leave him until he came in and I saw it being accompanied by the doorman, Koellreutter was again lost. At that very moment, he no longer knew where he lived, which was the building where his apartment was - even though it was exactly in front of him.

With all care, as if it was something natural, I picked up him by his arm and took him to the building. I asked to the doorman to accompany him to the apartment.

Suddenly, he was plunged into an emptiness – which did not happen at any moment before during our long lunch.

522 Later I called Áurea asking about how he was. I knew that everything had gone well and that he was calm and very KOELLREUTTER - the music revolutions of a Zen master emanuel dimas de melo pimenta 2 0 1 0

happy.

They were very impressive moments. I was very sad. Deeply sad.

The following Saturday I received a call from Saulo Di Tarso – who I had never met before. He was concerned about Koellreutter’s health.

523 KOELLREUTTER - the music revolutions of a Zen master emanuel dimas de melo pimenta 2 0 1 0

17

About a month later, already back in Lisbon, I called to know how Koellreutter was. I spoke to Áurea. She was very nervous, almost losing her mind. I asked to speak to him.

We talked a little. He seemed me to be more lucid, but without identity with the world. − I no longer have projects. I’m always here, closed. 524 It is a pity that I can no longer travel. And it’s a pity that we are so far each other. When will you come here again? KOELLREUTTER - the music revolutions of a Zen master emanuel dimas de melo pimenta 2 0 1 0

My visits to Brazil became increasingly unpredictable.

In any case, he seemed to be better.

I was regularly calling him until his birthday of eighty- five years in September 2000. I was in Lisbon and we had a long and pleasant conversation.

He was completely lucid! We talk about the world, about politics, economy, and also about future projects. He said he made plans to spend a few days in Portugal with us! Of course, I told him that it would be more than a pleasure and an honor, both for Luciana as for me, to receive him at our home.

That was absolutely unexpected! He was totally transformed. Much better! Quite different from the moments 525 when we had been together at Jorge Wilheim’s home months before! KOELLREUTTER - the music revolutions of a Zen master emanuel dimas de melo pimenta 2 0 1 0

Again, I imagined that a revolution had happened in medicine.

In that year, the composer Sérgio Villafranca - one of his students, about who Koellreutter always referred with care - launched a compact disc with several of his compositions, including Ácronon.

Hans Joachim Koellreutter - photo by Emanuel Dimas de Melo Pimenta in São Paulo, 2000 526 That was a true gift to Koellreutter, he was really happy because of it. KOELLREUTTER - the music revolutions of a Zen master emanuel dimas de melo pimenta 2 0 1 0

Months passed and every in phone call he seemed to be better. In April 2001, we had a long talk and it seemed me that he had not changed since we had met each other more than twenty years earlier.

He commented about the serious situation of insecurity in the streets of São Paulo, the degeneration of standards of education, the widespread corruption. He told he had been assaulted while walking along São Luiz Avenue. He talked about how he would love to be with us in Portugal. That for years his greatest dream was to live in Funchal, Madeira Island.

The dream of living his last years on an island still was very present.

527 Very gently I told him that those dreams probably would no longer be possible due to his advanced age and his KOELLREUTTER - the music revolutions of a Zen master emanuel dimas de melo pimenta 2 0 1 0

health problems. He showed a perfect state of lucidity. − Yes... my friend... you’re right. Things have changed. Time passes and everything changes. The reality changes. Sometimes it is terrible to think about it. What I wanted was to spend my last years on an island. I have told you many times about this. To not die, but simply disappear. Because nothing is really important. Everything is maya.

He asked about Luciana, about our daughter Laura. He commented, not hiding some sadness, that Margarita had permanently moved to Tiradentes.

That conversation was impressive. He was again excellent, lucid, with quick thinking, and excellent memory!

Luciana and I even seriously considered the possibility 528 of receiving him at our home, despite the difficulties we knew he should face, because of age and the long trip. He KOELLREUTTER - the music revolutions of a Zen master emanuel dimas de melo pimenta 2 0 1 0

was eighty-six years old.

In that year of 2001, Teca Alencar de Brito launched the book Koellreutter educator: the human as the aim of music education, with a foreword by Carlos Kater. That book touched very much Koellreutter, it was very important to him. It certainly was the first book written about his work. Months before, we had talked about the book and he was very happy with the Teca’s work.

In that year, Carlos Kater launched the book Live Music and H. J. Koellreutter - movements toward modernity.

In the twentieth of June of 2001, Saulo Di Tarso called me again saying that Koellreutter had asked him to send me a message: «I am living in a social prison in Brazil. I should go to Lisbon to be with Emanuel». 529 I tried to call to find out what was happening, but KOELLREUTTER - the music revolutions of a Zen master emanuel dimas de melo pimenta 2 0 1 0

no one answered at Koellreutter’s home. This happened repeatedly for weeks.

In December 2001, finally, I successful talked to someone at his home. Áurea answered the phone. She was again very nervous. «He no longer knows who he is, he doesn’t remember even Margarita. He is definitely alone. The disease came back» - she said with excited voice.

She told that it was very difficult to explain him what fireworks were. His memory had faded suddenly and permanently. He no longer knew what was music or sound, year, month, time, cinema, photography, art or science. He became completely lost with the sounds of exploding fireworks in the holiday season. He ate all day, almost without stopping, he had fattened, and was paralyzed in front of the television. He was physically strong and happy, he just did 530 not exist anymore. KOELLREUTTER - the music revolutions of a Zen master emanuel dimas de melo pimenta 2 0 1 0

After that, I called again in January 2002. I spoke another time with Áurea, who was looking after him, but little or nothing was added.

I had no way to help, there were no news, everything was unchanged. It was no use to continue calling. He no longer knew who I was or even what was a phone.

As I did every time, I assured that my phone numbers were properly recorded in the agenda of his home, for any need.

Each time you call, thereafter, it was only to find that nothing had changed. He had disappeared forever.

In June, I called from Lisbon, worried, to know updates about his health. I spoke to Margarita. She answered the 531 phone. It was eight of June. Her voice was of a sad and devastated person. That day, they celebrated thirty-nine KOELLREUTTER - the music revolutions of a Zen master emanuel dimas de melo pimenta 2 0 1 0

years of marriage.

She told me, full of sadness but also with love, that Koellreutter was getting worse, and that the only pleasure he still had was watching television.

When he saw a recorded movie, he could watch always the same thing without noticing that it was the same film.

That day, Cecilia Bartoli, the great soprano, Margarita’s friend, was there and offered him a DVD equipment. But he no longer knew who she was or what was an opera.

Koellreutter had spent the entire previous week in a hospital for a series of exams. He had a mild infection and would be subjected to a surgery without great risk in a few days. 532 Very hurt, Margarita said how she deeply suffered KOELLREUTTER - the music revolutions of a Zen master emanuel dimas de melo pimenta 2 0 1 0

with criticism of people who condemned her for having isolated Koellreutter. But what could she have done? «When someone appears, it gets terribly nervous. He doesn’t know what is happening... he gets lost and confused with the simplest things».

I reminded, once again, of how Koellreutter had always been extremely careful with his personal image. He hid himself in the small cottage in Petrópolis as no one could see him unshaved!

Now, with Alzheimer, if he were to decide, surely he would have done exactly what was Margarita did. He would isolate himself, get away.

He would have gone to an island.

533 Many years before, in one of our lunches, we talked at length about the death. Also as the writer and poet KOELLREUTTER - the music revolutions of a Zen master emanuel dimas de melo pimenta 2 0 1 0

Jorge Medauar defended in a different situation, he firmly embraced Epicurus’ ideas – according to which everyone should protect dignity in life, but also dignity in death.

Margarita was deeply sad, but she always was a strong and determined woman.

In December of that year of 2002, I called again to know how he was. I talked to Áurea. She said he was in good health, but completely disconnected from reality. He did not even know who he was. That day I knew that Áurea had shown him a video that he had recorded two years earlier. He did not recognize anything. Nothing else made sense to him.

But he was happy, deeply happy.

534 In 2003 I moved to Locarno, Switzerland. KOELLREUTTER - the music revolutions of a Zen master emanuel dimas de melo pimenta 2 0 1 0

In February of that year, I received an email from a dear friend, Valdemar Jorge who then was director of Cultura Television Network. He sent me a lamentable article about Koellreutter written by a journalist from Londrina, south of Brazil.

The journalist wrote that the master «today vegetates at home, recognizing no one, unable to speak, not even to eat without someone to give him food in the mouth, making his physiological needs in geriatric diapers». He accused the friends of the composer to have abandoned him. He accused Germany of not paying him a pension.

That was exactly what Margarita wanted to avoid – and what, I am absolutely sure, Koellreutter also would want to: speculation of unqualified people looking for self- promotion. 535 If that unfortunate journalist knew a little bit of reality KOELLREUTTER - the music revolutions of a Zen master emanuel dimas de melo pimenta 2 0 1 0

and was acting in good faith, he would never have written that article. But he seemed to be someone delivered to his own ignorance, fascinated by it – judging himself so important at the point to judge what it was strange to him.

We all will die, but the dignity with which we will leave the stage of life is something to be respected, as Epicurus taught.

Many people started calling me from Brazil, outraged and shocked by the article.

I called some times more to the house of Koellreutter, but it made no sense to call insistently. I could do nothing. I lived in Europe. Margarita had all my contacts and I was always available for whatever was needed.

536 But even she could not do very much. He was isolated in another world. KOELLREUTTER - the music revolutions of a Zen master emanuel dimas de melo pimenta 2 0 1 0

Koellreutter was well treated, happy and freely immersed inside a world of continuous discovery, in another planet, in an island.

In the tenth day of November 2003 – when I received the news of the death of Mario Merz, who was a good friend – I called again to know about Koellreutter, but the phone number no longer existed.

I knew, then, by Saulo Di Tarso, that Margarita had sold the apartment at São Luiz Avenue and that had secretly moved him, without telling anyone.

Saulo Di Tarso was deeply concerned by not knowing where Koellreutter was living. But surely, this disappearance was exactly what Koellreutter himself would wish. 537 Suddenly, I no longer had any contact of him. Phone KOELLREUTTER - the music revolutions of a Zen master emanuel dimas de melo pimenta 2 0 1 0

numbers in Rio de Janeiro had since long disappeared. Margarita never called me.

In the fourteenth day of September 2005, I received a message sent by Saulo Di Tarso: Koellreutter had died at ninety years of age.

In that same day I received a message from René Berger, another dear friend of many years: «On the death of your master Koellreutter: I am very close to you».

The following year, I heard from others that Margarita Schack had created a foundation dedicated to the memory of Koellreutter.

The Koellreutter Foundation was created thanks to the donation of his belongings made by Margarita – books 538 and music scores – and to the Federal University of São João del-Rei, in Minas Gerais. KOELLREUTTER - the music revolutions of a Zen master emanuel dimas de melo pimenta 2 0 1 0

There it is the Space Koellreutter, at the University’s Cultural Center, whose trustees are Regina Porto and Carlos Kater. It is estimated that Koellreutter have left seventy- seven compositions.

He died as had always wished – in an island, far from everything and everyone.

He just reintegrated himself with Nature, like a wave at sea.

To the alive being, the event of consciousness means at same time detachment and proximity. The object I look for always is, by definition, distant (ob-ject, etymologically throw ahead), but, simultaneously, I establish with it a relation that allows me to integrate it (con-science, to know with). To be conscious then becomes 539 both to left and to reconnect, a doubly complex process.

René Berger, 2007

KOELLREUTTER - the music revolutions of a Zen master emanuel dimas de melo pimenta 2 0 1 0

Aesthetics

Notes on the course Introduction to Aesthetics by Hans Joachim Koellreutter São Paulo, 1981

Aesthetics is the ideology – the philosophy – of the artist. Its function is to take society to a higher level of consciousness.

Conscience: the human capacity to apprehend systems 541 of relations that determine him: the relations of a given object to be cognized with the environment and with the self that apprehends it. KOELLREUTTER - the music revolutions of a Zen master emanuel dimas de melo pimenta 2 0 1 0

I am not referring to the consciousness as formal knowledge; neither as mere knowledge or any process of thought, but rather to a form of constant inter-relationship, a creative act of integration.

Reading – Merleau-Ponty: The Phenomenology of Perception.

The best method to know the world of today is to draw a comparison between different periods of art history.

The modal universe is characterized by the absence of the leading tone and the perspective. It is a period we might call, in a sense, irrational, and is dominated by oral culture.

542 The tonal universe is characterized by the existence of the leading note and the perspective. It is a period we might call, in a sense, rational, and is dominated by the written KOELLREUTTER - the music revolutions of a Zen master emanuel dimas de melo pimenta 2 0 1 0

culture.

The atonal universe doesn’t have, again, the leading tone – it is arational and aperspectivic, where the particle “a” is the private alpha and is not about a negation. The contemporary universe is also a period designated by the psofal music – from the Greek psofos, indicating the incorporation of noise as music.

When we use expressions such as aperspectivic or atonal, the particle “a” is the private alpha, which deprives the term from something. Deprives the concept from an absolute validity. Indicates the transcendence of the concept and, in this way, also its independence.

543 Atonal music incorporates the principles of tonal music in a wider universe. KOELLREUTTER - the music revolutions of a Zen master emanuel dimas de melo pimenta 2 0 1 0

Hearing: Wozzeck, by Alban Berg. Vienna Philharmonic Orchestra, Christoph von Dohnanyi conducting, with Eberhard Waechter and Anja Silja.

Definitions: irrational: what is unconscious of the reason process conscious: what is conscious of the reason process arracional: consciousness of a wider process

Epochs: first epoch: God and the human being second epoch: the discovery of space third epoch: the domain of time

544 The good teacher never teaches; he only turns KOELLREUTTER - the music revolutions of a Zen master emanuel dimas de melo pimenta 2 0 1 0

conscious what the students already know.

If the human being is not conscious of the space, he also is not conscious of himself.

Middle Ages: God / human being - unity / community

Renaissance: duality – individual and God

Contemporary period: emergence of a triadism gestaltic

545 In the 4th, 5th and 6th centuries there was not what we call style. KOELLREUTTER - the music revolutions of a Zen master emanuel dimas de melo pimenta 2 0 1 0

The first music composers in the Middle Ages did not sign their works. Gregorian chant typically is the product of the first epoch: God and human being.

Petrarca, with the Windy Hill letters, established the landmark of the end of the medieval period. When admiring Nature he realized that he was no longer someone pertaining to the Middle Ages.

Consciousness participates in reality.

John Wheeler: the consciousness changes the reality; the consciousness changes the matter.

546 The consciousness is the capacity to understand the relations that constitute us. KOELLREUTTER - the music revolutions of a Zen master emanuel dimas de melo pimenta 2 0 1 0

Awareness is a process of establishing functional relations.

The object we are conscious of, participates in the history.

John Archibald Wheeler: the human being is not only an interpreter of reality – he is a participant in it.

Stegmatic Music – from the Greek stegma – that means a predominantly vocal sound, which happens until the Renaissance period.

Plagal Music – from the Greek clagal – mostly instrumental sound, that happens until the twentieth century. 547 Psofal language – what transcends perspective and KOELLREUTTER - the music revolutions of a Zen master emanuel dimas de melo pimenta 2 0 1 0

incorporates noise, it happens from the twentieth century. In a musical composition, emphasis is never on the ego of the composer, but on the community.

Artistic emphasis is never on the personal, but on the impersonal.

Without understanding the background of a society, it is not possible to compose.

- Twodimensional consciousness: Earth / Beyond - pre rational - intuitive and globalizing – in the sense that God and the human being form a unit. - the concept of religion, which arose from two etymological roots: from the Latim relegere, meaning 548 “to reread”; and also from the Latinreligare , meaning “to reconnect”. KOELLREUTTER - the music revolutions of a Zen master emanuel dimas de melo pimenta 2 0 1 0

- in ancient societies, such as the Hindu culture or the universe of Zoroastrianism, religion is an act of continually reading and rereading norms and rules. - in ancient religions, God and human being are a single thing. - then, consciousness is one-dimensional.

History never eliminates, always integrates.

The tendency of the first phase (medieval) is spiritual.

Then, in the medieval world, the process of consciousness is the result of the relationship between the human being and the community with the deity.

- three-dimensional Consciousness: rational - mental 549 - analytic - tendency to materialism KOELLREUTTER - the music revolutions of a Zen master emanuel dimas de melo pimenta 2 0 1 0

- perspective

Then, after the late Middle Ages, the process of consciousness turns around the relation between human being and space, taking the human being as individual.

Whatever we could discover, already exists.

- Four-dimensional consciousness: time - form of perception: aracional - intellectual and integrating - process of consciousness: function of the contemporary artist, establishing the relations between the human being and time, and 550 between the individual and the Humanity - tendency to the intellectual universe KOELLREUTTER - the music revolutions of a Zen master emanuel dimas de melo pimenta 2 0 1 0

- Modal one-dimensional two-dimensional

Then, in painting everything is two-dimensional, the structure is adirectional and the composition has a serial character.

In the adirectional universe, one must to read and to continually reread as to understand – religion. The result is 551 the experience of the concept. KOELLREUTTER - the music revolutions of a Zen master emanuel dimas de melo pimenta 2 0 1 0

Three phases from the Middle Ages to the contemporary world:

First phase: circular form – the artist circumscribes concepts. Second phase: triangular or pyramidal form – the artist describes concepts. Third phase: spherical form.

Circular form: Genesis According to St. John

- In the beginning it was the Verb and the Verb 552 was with God and the Verb was God.

KOELLREUTTER - the music revolutions of a Zen master emanuel dimas de melo pimenta 2 0 1 0

A Principle | B Verb God(C) Verb B | Principle A

A B C B A

Form of the Gothic: AB | BC | CB | BA

553 The circle has no beginning or end. KOELLREUTTER - the music revolutions of a Zen master emanuel dimas de melo pimenta 2 0 1 0

There are no values.

Everything is continuous flux.

In such reality, the interpretation must be homogeneous.

In aesthetic terms, monotony is the silence.

When the values are equal, repetition is strong.

It is interesting to observe the great unity that is symbolized by the circle.

In great part of the cultures of the world, possibly in all of them, the circle represents the soul.

554 We find such symbol of the circle in Lao Tzu, and in Buddha’s teachings. KOELLREUTTER - the music revolutions of a Zen master emanuel dimas de melo pimenta 2 0 1 0

In Heraclitus:

For the soul it is death To become water For water it is death To become land From the earth water is born From water soul is born

In the suite Lulu, Alban Berg operates a circular system.

Often the circular approach is used by contemporary physicists.

555 Certain phenomena can not be described, but only circumscribed. KOELLREUTTER - the music revolutions of a Zen master emanuel dimas de melo pimenta 2 0 1 0

MENTAL / INTELLECTUAL

The state of consciousness is reflected in language. The state of consciousness is the engine of history.

Between the period of circa 1500 and 1907 we have the prevalence of mental – but we should extend this period to about 500 BC – because it is when the prevalence of mental is born in ancient Greece.

In Sanskrit, the word mind is ma, which etymologically is related to words that begin with mam, ma, mat, me, men – like matter and measure, for example.

The ancient etymological root ma also indicates the sense of creative energy, of fury, measure and so on. 556 The first canto of Homer’s Iliad is Ménin Achilleos KOELLREUTTER - the music revolutions of a Zen master emanuel dimas de melo pimenta 2 0 1 0

– which means the Fury of Achilles. Homer’s work can be considered the first work of the modern era, elaborated in its final form probably around 700 or 800 BC.

In the Iliad, like in the Odyssey, the poet presents the events no longer in a circular form, but directly, in a directional and causal form.

Ménin means fury while revolt of reasoning and is a spiritual significance; but also indicates the idea of courage.

So the clash between humans and gods happens.

Thales of Miletus presumably was the first to write from left to right. The expression of written language reinforces the movement from top to bottom. 557 KOELLREUTTER - the music revolutions of a Zen master emanuel dimas de melo pimenta 2 0 1 0

Written movement from top to bottom: expression of the unity God / human being.

Written movement from right to left: emotional expression.

Written movement from left to right: removal of the emotion, emergence of reason – know yourself.

The Latin word mens – which appears from the etymological root ma or me, indicates the following meanings: Fury Directional Mind Courage 558 Think Thought KOELLREUTTER - the music revolutions of a Zen master emanuel dimas de melo pimenta 2 0 1 0

Intelligence Mentality Imagination Measure

The Sanskrit word manu – which also appears from the same etymological root – gives us the following meanings: Man Thinker Who measures

Man, mind, meter, measure, material, materialism, dimension and mathematics – all these words indicate the same etymological root: the ancient Indo European ma or me.

559 Mind contains all the components of the perspectivic universe. KOELLREUTTER - the music revolutions of a Zen master emanuel dimas de melo pimenta 2 0 1 0

It is the fugue from the spiritual.

There is a mutation of consciousness. It is about a jump and not an evolution, as it is so often said.

The circle protects the soul, then everything the human being has is characterized by complementary poles. There is not, yet, the dialectical conflict of opposites.

Intellectual: word linked to the creation of concepts and to the search for previous forms of consciousness.

The content of art is the psyche, the structure of the soul.

560 Art does not express emotions. KOELLREUTTER - the music revolutions of a Zen master emanuel dimas de melo pimenta 2 0 1 0

Art sublimates the human soul.

The human being participates in the artistic phenomenon, as well as the listener participates in the music.

Hearing: Gyorgy Ligeti – String Quartet.

In architecture this transition indicates the transition between transparencies, like what happens in the Gothic; for closed spaces, as what happens in the baroque; and again we have the transparency in the contemporary world.

561 KOELLREUTTER - the music revolutions of a Zen master emanuel dimas de melo pimenta 2 0 1 0

Monotony is not something pejorative, but an important aesthetic value in the arts.

Pseudo-Dionysius the Areopagite, about 500 AD said: The souls acquire a rational understanding when seeking the truth of things discursively and in gyratory movements.

Napoleon Bonaparte: ...I intensely love this music. It is monotonous and only what is monotonous really moves us.

Napoleon Bonaparte indicates meditation and reflection as elements of interior enrichment. 562 Monotony: predominance of the elements of KOELLREUTTER - the music revolutions of a Zen master emanuel dimas de melo pimenta 2 0 1 0

redundancy.

Redundancy: elements that expected to be repeated.

It then that an informational aesthetics emerges, based on the principles of the Theory of Information – and Napoleon Bonaparte was, in some sense, its precursor.

Without expectation there is no musical expression.

Information: what is expected to not occur.

Redundancy and information can happen while subjective questions, objective questions or even as historical data.

563 Hans Joachim Koellreutter: music only really is music when we forget the sound. KOELLREUTTER - the music revolutions of a Zen master emanuel dimas de melo pimenta 2 0 1 0

Middle Ages – time measured by church bells.

Thirteenth century – gradually time becomes more and more rationalized.

First public clock: 1283 in London.

Byzantine Universe: interior: paradise exterior: protection, monument

In the Byzantine world everything is horizontal, there is no volume, no three-dimensionality, the plans do not move. Everything is symbolic – gold, sky and so on.

It is about an anti-naturalistic reality. 564 In a same space, a scene. KOELLREUTTER - the music revolutions of a Zen master emanuel dimas de melo pimenta 2 0 1 0

There is no movement. Faces are not individualized.

Circle around Christ.

Romanesque: non-dynamic exterior / interior unity. Gothic: dynamic exterior / interior unity – the emergence of naturalism, consciousness of vision.

It is impossible to make an analysis of styles in relation to the Middle Age. All organized collectivist societies make no references to styles, but only to schools.

In medieval art is functional and the individual passes to a second plan. 565 Unity in the Middle Ages is the result of a feeling of KOELLREUTTER - the music revolutions of a Zen master emanuel dimas de melo pimenta 2 0 1 0

integration between heaven and earth.

Space is interval.

Cavern: interior / exterior. The combination of these two intervals leads to the cathedral.

The dome of a cathedral is not something inside, but a fundamental part of Nature while concept.

First cathedrals – cavern walls only with protective function.

Columns – elements of spatial division.

566 KOELLREUTTER - the music revolutions of a Zen master emanuel dimas de melo pimenta 2 0 1 0

Galileo Galilei: Everything can be measured, and what cannot be must be transformed until it can be measured.

Primitive art – everything represented among the plants, vegetables, signs in confusion.

Unity – the emergence of magic.

*Ma is also the etymological root of magic and emancipation – as well as of machine.

Whatever his condition is, the human being is always 567 a participant in the Nature. If this statement is true, then, what we call consciousness KOELLREUTTER - the music revolutions of a Zen master emanuel dimas de melo pimenta 2 0 1 0

is just one thing.

Positivism: current hostile to metaphysics, aspiring to fundament knowledge solely on facts: definitive and safe facts – definitive data and security are the inadmissibility of doubt: absolutism.

Metaphysics: everything that transcends the physic.

Metamusic: what transcends traditional music – reflections on the nature of music: John Cage, Karlheinz Stockhausen and even the traditional Hindu music.

568 Metamusic: what it looks to sublimate. KOELLREUTTER - the music revolutions of a Zen master emanuel dimas de melo pimenta 2 0 1 0

Directional thought – intentional, it aims an object, a goal.

Religion as to read and to reread in the circular thinking period. The understanding passes to be the experience and not a content.

So, God is not content, but experience.

To analyze the Art of Fugue by Johann Sebastian Bach. To read Goethe, fragments, and the Bible, the Old Testament, fragments.

569 Circular logic – inclusive, essentially creative. Triangular logic – objective, empts creativity. KOELLREUTTER - the music revolutions of a Zen master emanuel dimas de melo pimenta 2 0 1 0

No one organizes the arts in a particular way. Everything is process and knowledge. The important is to create.

The artwork that has no order has no meaning.

Order requires repetition – the existence of conjunctive elements.

Repetition is necessary to cause the feeling of unity.

Repetition is necessary because what is repeated is what is fixed in the mind.

Only difference produces consciousness.

570 Art and music between the end of World War II and 1980 KOELLREUTTER - the music revolutions of a Zen master emanuel dimas de melo pimenta 2 0 1 0

was characterized, in general, by one-way communication – what is made is due to a relation with the repertoire of who listen. Conceptual art.

Symbol: a sign that coincides with the object.

Protestantism: first reaction of rationalism in Western religion.

A symbol is, therefore, more than a sign, because in it there are latent two basic possibilities that, when rationally approached, are opposed, and when psychically approached form a whole. An authentic symbol is a set of two poles that naturally complement themselves. 571 KOELLREUTTER - the music revolutions of a Zen master emanuel dimas de melo pimenta 2 0 1 0

In India it is a crime to perform a morning raga at night. The morning raga is, in itself, the morning itself. It does not exist in another horary, in another time.

In India, coincidence is lived.

The process of rational art – as well as the entirehistory of the arts – is a process of emptying the symbols.

All symbols are based on a polar reality – duality that forms a whole.

The idea of contrast as opposition no longer exists in the Middle Ages.

572 The real experience is always irrational. KOELLREUTTER - the music revolutions of a Zen master emanuel dimas de melo pimenta 2 0 1 0

In fantasy, soul teaches us what reason does not want to admit.

It is through the experience that we get to true knowledge.

Logic of circular thought: all points have the same distance from a same fixed point.

There is an interesting and mysterious relationship between the idea of night and the number eight. In every language Anglo-Saxon and Latin languages, the particle “n” indicates the idea of negation. In all these languages, the words night and eight are 573 written in a similar way, as if they had a same origin. Night and eight in English; noite and oito in Portuguese; nuit and KOELLREUTTER - the music revolutions of a Zen master emanuel dimas de melo pimenta 2 0 1 0

ouit in French; notte and otto in Italian and so on. For the Orphic universe, night was the beginning of everything, but also the negation of everything.

Night as the unconscious of the human being – the negation of the consciousness. The number eight, lying, is the symbol of infinity.

The first elements of the flat perspective appear with Giotto.

The troubadours were the first musicians and singers to sing poems about their self, about the individual.

574 It then opened an abyss between humans and Nature – approximately between the twelfth and thirteenth KOELLREUTTER - the music revolutions of a Zen master emanuel dimas de melo pimenta 2 0 1 0

centuries.

St. Thomas Aquinas reveals the Aristotelian rationalism.

Pope John XXI, born in Lisbon in 1210, and who was pope between 1276 and 1277 – considered one of the most intellectual popes of all times – wrote De Anima, which probably was the first treatise on psychology.

Westminster, London, 1285 – the first public clock.

Time is transformed from quality to quantity.

Egyptian plastic representation was, in a certain sense, inhuman – because there was no consciousness of the interior human value, of a soul, as it would happen later. Then, the 575 human being was composed by disparate elements, material and immaterial. KOELLREUTTER - the music revolutions of a Zen master emanuel dimas de melo pimenta 2 0 1 0

The Greek miracle is a preparation for the Italian Renaissance.

Cybernetics – from the Greek kubernus, which means pilot: science of human brain piloting.

Information Theory and Communication Theory are part of Cybernetics.

Redundancy: occurrence of elements that are expected.

The elements of redundancy are what characterize the style. 576 Chaos: equivalence of all elements, equal probability KOELLREUTTER - the music revolutions of a Zen master emanuel dimas de melo pimenta 2 0 1 0

of all elements. Chaos: Entropy Order: neg-entropy

The world is moving to the entropy and the end result is death for all elements, all becoming equivalent.

The artist always creates unity. Alwaysrelates . The artist works in reverse sense to the entropy, always establishing a structure.

Middle Ages – the human being communicates with God. Renaissance – troubadours sing to the human soul.

577 Josqin des Prés – Reservata music. The music should KOELLREUTTER - the music revolutions of a Zen master emanuel dimas de melo pimenta 2 0 1 0

be just what it represents.

Doctrine of the Affections – relates tempo dynamics with human feelings: Baroque.

Aesthetics of descriptive music – programmatic music.

Sixteenth century, movement of human consciousness, the portrait emerges. Third dimension in the human being.

From Piero della Francesca, an inflation of space essays start in the history of Western art.

578 Werner Heisenberg: There is no longer language inside the context of quantum problems. KOELLREUTTER - the music revolutions of a Zen master emanuel dimas de melo pimenta 2 0 1 0

Perspective visualizes the human being.

Part taken by the whole – pars pro toto.

Middle Ages: metaphysical dimension Renaissance: perspective, space Contemporary world: time

Time questions and annuls the three classic dimensions.

Hearing: Gyorgy Ligeti,Artikulation II. 579 KOELLREUTTER - the music revolutions of a Zen master emanuel dimas de melo pimenta 2 0 1 0

Any amplification requires a prior reduction.

All that is positive becomes negative through a process of over-intensification.

Totality is the sum of parts. Totos – nothing and, simultaneously, everything.

Everything is relative. In Japanese, and also in Chinese, the words green and blue did not exist – both were shades of the same color. There was no consciousness of a difference between those colors. In Hindustan the word kal means both yesterday and tomorrow, the meaning depends on the context.

580 Our lives are islands in a totos. KOELLREUTTER - the music revolutions of a Zen master emanuel dimas de melo pimenta 2 0 1 0

Tonality always implicates ambiguity: amplification of the possibilities of combination reduction of the possibilities through fragmentation

Thirteen century – troubadours, singing the music of the individual.

Then, the first composers of so-called Flemish school appear, establishing the principles of tonality. The Flemish painters also appear, establishing the principles of 581 perspective. KOELLREUTTER - the music revolutions of a Zen master emanuel dimas de melo pimenta 2 0 1 0

RESERVATA MUSIC.

Adrianus Petit Coclico, pupil of Josqin des Prés, establishes the music at service of the text – reserved to a very small number of listeners.

Choral music that can only be performed in certain places.

Evolve to the Baroque, which gives rise to the Doctrine of the Affections.

Doctrine of the Affections: all ornaments and 582 characteristics of the composition should mean emotions and feelings of the human beings. KOELLREUTTER - the music revolutions of a Zen master emanuel dimas de melo pimenta 2 0 1 0

In its turn, the Doctrine of the Affections culminates in the nineteenth century as programmatic music.

QUADRATURE: process of organizing the melody through even numbers of phrases, all of equal size.

Leonardo da Vinci – non-perspectivic era ends.

After Leonardo da Vinci: - Christopher Columbus (1437-1506), discovers the terrestrial space. - Nicolaus Copernicus (1473-1543) establishes the heliocentric principle. - Andreas Vesalius (1514-1564), discovers the corporal space. 583 - Galileo Galilei (1564-1642), developed and popularized the instrument for the conquest of sidereal KOELLREUTTER - the music revolutions of a Zen master emanuel dimas de melo pimenta 2 0 1 0

space: the telescope. - Johannes Kepler (1571-1630), discovers the motion of the planets in ellipses. - William Harvey (1578-1657), discovers the arterial pressure.

Sixteen century – the technique of oil painting appears, which was, until then, virtually unknown. Oil painting allows the expression of transparency and depth that was not possible with the frescoes.

At the same time, laces are popularized – weaving technique that allows transparency.

Sixteen, seventeen and eighteen centuries arise: 584 Schism KOELLREUTTER - the music revolutions of a Zen master emanuel dimas de melo pimenta 2 0 1 0

The fragmentation and division of religions

Colonies

Conquests

Politics of power

They are transformations that culminate in the contemporary world as the era of technology and of the conquest of peoples.

First phase of the Renaissance: - strong emergency of the counterpoint and of the leading note. 585 - more precise notation concerning the duration KOELLREUTTER - the music revolutions of a Zen master emanuel dimas de melo pimenta 2 0 1 0

- the dualistic thinking appears

Contrasts become opposites.

Guillaume de Machault – using intervals of fourths, fifths and octaves. Monteverdi, using for the first time intervals thirds and sixths.

Before the temperament – largely established by Johann Sebastian Bach and Jean-Philippe Rameau – non- tempered music was much richer in terms of frequencies. When this happens, almost all intervals are different.

In India, twenty-two to thirty intervals are listened in a single octave.

The synthesis, simplification of relations with 586 temperament indicates a hypertrophy of the ego – leading to individualism and to massification. KOELLREUTTER - the music revolutions of a Zen master emanuel dimas de melo pimenta 2 0 1 0

The consciousness of space amplifies the possibilities and reduces the spectrum, constituting paradoxical poles.

Baroque – means strange, extraordinary, in etymological terms.

In sociology, when something is super emphasized, it means that something is in decadence.

History is a series of realizations of things that already exist.

In the twentieth century, surely, the most important event was the consciousness of time. 587 Time as a fourth dimension of space. KOELLREUTTER - the music revolutions of a Zen master emanuel dimas de melo pimenta 2 0 1 0

Time gradually ceases to be a physical factor to become a form of perception.

1916 – General Theory of Relativity by Albert Einstein: the concept of time. Space is not three-dimensional, but four-dimensional with time. It is not possible to exclude time from space. Time and space are two aspects of a single thing – we do not know what it is.

Albert Einstein: The space-time continuum is the four- dimensional space where we have physical phenomena characterized by three spatial coordinates in three- 588 dimensional frame and a fourth coordinate given by the product c.t where c is the speed and t is the moment of KOELLREUTTER - the music revolutions of a Zen master emanuel dimas de melo pimenta 2 0 1 0

occurrence in the space referential.

Continuous: something that does not show discrete components.

Dimension: sense in which one perceives the musical discourse to evaluate and appreciate a relation that is considered susceptible to measurement and analysis.

Dimension – mension... to measure: rational and spatial. Dimension – di: through something.

Time destroys the dimensions, transcending and integrating them.

589 Magic: from mag, to assume some machine, to emancipate himselves through machines, machining. KOELLREUTTER - the music revolutions of a Zen master emanuel dimas de melo pimenta 2 0 1 0

According to the criteria established by Einstein in his Theory of General Relativity, the classic three-dimensionality simply does not exist.

Space cannot exist without time.

Whatever measure of space or time, it will never be absolute.

Jorge Luis Borges: the human dreams the world.

In contemporary music there is no longer classic references, such as a theme or a tonic.

590 No longer having independent space, the principle of direction ends. KOELLREUTTER - the music revolutions of a Zen master emanuel dimas de melo pimenta 2 0 1 0

The arts become potentially multidirectional, with changeable elements, into multi-functionality.

Hearing: Just-Gú II, by Maki Ishii, for Gagaku and orchestra.

Hearing: Cassiopeia, by Tohru Takemitsu, for solo percussion and orchestra.

Space and time are only forms of perception of the observer. 591 The new concept of time aims to recover the whole. It KOELLREUTTER - the music revolutions of a Zen master emanuel dimas de melo pimenta 2 0 1 0

tends to the whole.

Memory – fundamental to the systatic perception.

Space and body gradually become transparent.

Time does not exist.

Present is infinite, it is the origin.

The origin is eternal, everything is origin.

The present is the quintessence of time.

The present is pure time.

592 KOELLREUTTER - the music revolutions of a Zen master emanuel dimas de melo pimenta 2 0 1 0

Music of the Twentieth Century

Notes on the course of Music of the Twentieth Century by Hans Joachim Koellreutter São Paulo, 1981

The history of music has four main periods characterized by four musical idioms:

593 - Modal idiom 1. Romanesque 2. Gothic KOELLREUTTER - the music revolutions of a Zen master emanuel dimas de melo pimenta 2 0 1 0

3. Renaissance

- Tonal idiom 1. Baroque 2. Classicism 3. Romanticism 4. Impressionism

- Atonal idiom 1. Expressionism

- Psofal idiom

The first period is essentially ftegmatic – Greek word that indicates the idea of predominantly vocal sounds.

The second and third periods are essentially clagal 594 – predominantly instrumental. KOELLREUTTER - the music revolutions of a Zen master emanuel dimas de melo pimenta 2 0 1 0

The fourth period is essentially psofal – which incorporates the noise, taking the sound as a whole.

First period – succession of sounds Second Period – simultaneity of sounds Third period – convergence of sounds Fourth period – the emergence of the concept of time

In Tristan and Isolde, of 1859, Richard Wagner tried – in his own words – to emphasize the dualism between life and death.

The third act of Tristan and Isolde shows one of the moments of gradual disintegration of tonality through 595 multiple modulations. KOELLREUTTER - the music revolutions of a Zen master emanuel dimas de melo pimenta 2 0 1 0

Since then – although the ideas present in Tristan and Isolde were part of Wagner’s world and, especially, of Liszt’s world – it is possible to draw a line of transformations in several works and composers:

1875, Bagatelle without Tonality by Franz Liszt – first atonal work.

1889, Ave Maria on Enigmatic Scale, by Giuseppe Verdi.

1896, Quartet No. 1 by Charles Ives.

1899, Transfigured Night by Arnold Schoenberg.

1900, Symphony No. 4, second movement, by Gustav Mahler. 596 1901, Salome and Electra, in 1908, composed by KOELLREUTTER - the music revolutions of a Zen master emanuel dimas de melo pimenta 2 0 1 0

Richard Strauss.

1909, Three pieces for piano, opus 11, by Arnold Schoenberg.

1911, Six pieces for piano, opus 19, by Arnold Schoenberg.

1912, Jeux by Claude Debussy.

A great controversy about the end of tonality emerges in 1908.

1912, Arnold Schoenberg with Pierrot Lunaire, Opus 21: most important work of atonalism.

597 In Pierrot Lunaire everything is made in maximum exaggeration - including an extreme radicalism in low and KOELLREUTTER - the music revolutions of a Zen master emanuel dimas de melo pimenta 2 0 1 0

high sound regions.

Alban Berg integrated tonality into atonality.

Serialism is characterized by elements of repetition, which are conjunctive elements.

Atonality announces an acausality – evident in physics.

FIRST PERIOD OF THE TWENTIETH CENTURY MUSIC

Key feature: the language of music is atonal, with the absence of the leading note. 598 Structure: tri and four-dimensional. KOELLREUTTER - the music revolutions of a Zen master emanuel dimas de melo pimenta 2 0 1 0

Thoughts: rationalist.

Trend: materialistic.

Consciousness: the relationship between the human being as an individual personality and the mass, the collective.

The forms are discursive. The innovative style is the expressionism. But there are also restorative trends – i.e.: neoclassicism, folklorism and nationalism.

599 SECOND PERIOD OF THE TWENTIETH CENTURY MUSIC - after the Second World War KOELLREUTTER - the music revolutions of a Zen master emanuel dimas de melo pimenta 2 0 1 0

Music Language: psofal (includes noise)

Trend: planimetry, graphic scores

Restorative trends: Krzysztof Penderecki Luciano Berio Wiltold Lutoslawski Karlheinz Stockhausen (late career)

Muldimensional structure

Thought: aracional – which is paradoxical in its essence.

Trend: intellectual 600 The process of consciousness revolves around the KOELLREUTTER - the music revolutions of a Zen master emanuel dimas de melo pimenta 2 0 1 0

relationship of the human being with the time, and of the individual with the Humanity.

The new forms are again spherical.

Styles: experimental.

Werner Heisenberg, book: Physics and Philosophy.

Fayga Ostrower: Art is a form of growth in direction to freedom, a path for life.

FIRST PHASE: Igor Stravinsky, My Life 601 Rene Leibowitz, Schoenberg et son ecole Adorno and Boulez KOELLREUTTER - the music revolutions of a Zen master emanuel dimas de melo pimenta 2 0 1 0

Martin Heidegger, Being and Time

Igor Stravinsky: Romantic: Symphony Impressionism: The Firebird Expressionism: The Rite of Spring and The Soldier’s Tale Neoclassical: Pergolesi Suite Serialism: Canticum Sacrum and In Memoriam Dylan Thomas (1954)

Interestingly, Franz Joseph Haydn, Wolfgang Amadeus Mozart, Arnold Schoenberg, Alban Berg and Anton Webern were born in Austria.

Arnold Schoenberg: The Warsaw Survivor – politically 602 engaged work. KOELLREUTTER - the music revolutions of a Zen master emanuel dimas de melo pimenta 2 0 1 0

Arnold Schoenberg: Concerto for Violin and Orchestra - peak of expressionism in music.

ATONAL CONCEPT

It is the equivalence of intervals, chords and the emergence of simultanoids.

Simultanoid: chord that cannot be analyzed through intervals of thirds.

In 1937, Paul Hindemith provoked a great debate: the chords exist as they are being heard and not as they are described in theory.

In the atonal universe there is no longer hierarchy. No longer the dichotomy between dissonance and consonance. 603 The music of the twentieth century makes the KOELLREUTTER - the music revolutions of a Zen master emanuel dimas de melo pimenta 2 0 1 0

emancipation of dissonance part of consciousness.

The concept of dissonance arises with the Flemish musician Johannes Tinctoris, who lived between 1435 and 1511, great composer and theorist – he established the concepts of dissonance and consonance.

Atonality fundamentally is acausal – one cannot predict what will happen next.

Atonal – circular, spherical, transparent: systasis.

Albert Einstein: The sphere is unlimited, but finite.

FIRST DIMENSION: melodic line, horizontal SECOND DIMENSION: vertical relations, harmony 604 THIRD DIMENSION: tonality, atonal, several orders of relation KOELLREUTTER - the music revolutions of a Zen master emanuel dimas de melo pimenta 2 0 1 0

FOURTH DIMENSION: systatic perception

Systasis: include everything starting from all sides of the object that is perceived.

Systasis: no fixed reference points.

Too much information: absolute disorder. Excessive redundancy: absolute order. Absolute disorder is equal to absolute order.

First law of thermodynamics: the universe we live in is developed in complex and differentiated systems.

Second law of thermodynamics: everything tends 605 toward entropy. KOELLREUTTER - the music revolutions of a Zen master emanuel dimas de melo pimenta 2 0 1 0

The human being looks for order; he reacts to the process of entropy.

Chaos does not communicate.

Excess do not communicate.

There is the active and the passive silence.

The sphere essentially is four-dimensional because on it everything moves.

Freedom is the result of discipline.

The emergence of time destroys all dimensions of music.

606 In his Opus 19, Arnold Schoenberg was looking for KOELLREUTTER - the music revolutions of a Zen master emanuel dimas de melo pimenta 2 0 1 0

a great form. But it was not possible because of missing elements of order. Arnold Schoenberg: Atonalism is the art of composing with twelve independent notes.

The series has the function of unifying the composition.

It is not necessary to repeat the series. It becomes more present in the consciousness when is interrupted. All that is order becomes more present in consciousness when is interrupted.

Hearing: Concerto for Violin and Orchestra, Alban Berg.

607 FIRST SCHOOL OF VIENNA: Joseph Haydn, Wolfgang KOELLREUTTER - the music revolutions of a Zen master emanuel dimas de melo pimenta 2 0 1 0

Amadeus Mozart, Ludwig von Beethoven. SECOND SCHOOL OF VIENNA: Arnold Schoenberg, Alban Berg, Anton Webern.

Series: any parameter can be serialized. Integral Serialism: all parameters in music obey to series.

Hearing: Structures No. 1 for Piano, by Pierre Boulez.

Serialism: walking from the idea to the series, and not from the series to the idea

608 Hearing: Five Pieces for orchestra, opus 16, by Arnold Schoenberg. KOELLREUTTER - the music revolutions of a Zen master emanuel dimas de melo pimenta 2 0 1 0

Hearing: Grosse Fuge, in B flat for string quartet, opus 133, by Ludwig von Beethoven.

Hearing: Symphony, Opus 21, by Anton Webern.

Impressionism in music: melody without intervals passive joint degrees chromaticism in middle tones timbres built as a whole semantic great instrumentation

609 Expressionism in music: large intervals KOELLREUTTER - the music revolutions of a Zen master emanuel dimas de melo pimenta 2 0 1 0

active timbres taken individually syntactic reduction in the number of instruments sacrifice all the ideals in benefit ofthe expression

Anton Webern: melody of timbres, each note can have a different timbre.

Hearing: Musical Offering by Johann Sebastian Bach, transcribed by Anton Webern.

610 KOELLREUTTER - the music revolutions of a Zen master emanuel dimas de melo pimenta 2 0 1 0

In Arnold Schoenberg and Alban Berg two dimensions are worked: melody and harmony.

Anton Webern incorporates for the first time the Gestalt, transforming the melody into figuration and forcing the audience to listen to it as a systatic whole.

Hearing: Variations for Piano, Opus 27, by Anton Webern.

Restorative trends in music:

Paul Hindemith – seeks to restore the compositional techniques developed by Bach and to designate a “new 611 tonality”. He fought the atonalism. KOELLREUTTER - the music revolutions of a Zen master emanuel dimas de melo pimenta 2 0 1 0

Igor Stravinsky – especially in the phase between the piano sonatas and the Symphony of Psalms. Three works that fall outside the restorative trend in Stravinsky: Cantum Sacrum (serial liturgical work) Septet (first serial work, with dodecaphonic parts) Agon

Béla Bartók

Heitor Villa-Lobos

Kodaly

Manuel de Falla – especially in his neo-classical works.

612 Restorative movements essentially are folklorist or nationalist. They belong to a substantial nationalism when KOELLREUTTER - the music revolutions of a Zen master emanuel dimas de melo pimenta 2 0 1 0

making direct use of folkloric elements or of popular music. They belong to an essential nationalism, when the folkloric traces appear as the spirit of music.

George Gershwin often is a substantial nationalist.

Other restorative trends: Neoclassicism Igor Stravinsky Prokofiev Shostakovish

Hearing: Third Quartet, by Paul Hindemith. 613 KOELLREUTTER - the music revolutions of a Zen master emanuel dimas de melo pimenta 2 0 1 0

Psofal music, which incorporates the noise, came up with Henry Cowell, professor of John Cage.

Henry Cowell wrote several pieces for prepared piano in the first half of the twentieth century.

FORM – Form is everything that results from the disposition and from the relationship of the components and the constituent parts of a composition. It is a condition under which the composition is manifest. The basic elements of form are repetition, contrast and variation.

Hearing: Quartet Opus 135, Ludwig van Beethoven.

614 KOELLREUTTER - the music revolutions of a Zen master emanuel dimas de melo pimenta 2 0 1 0

Hearing: Music for Strings, Percussion and Celesta, by Béla Bartók.

Frozen dissonances: dissonances that cannot be resolved.

First concept of time – magical, vital, original time, like what happens in Candomblé, for example.

Second concept of time – psychic, intuitive. Music with irregular and diverse rhythm, with no compass, with no fixed and determined values of duration. Non-metric music, which is based on natural pulse and on the values of duration that the disposition of spirit and emotion require. Like what happens with Gregorian chant or the alap in Indian music.

615 Third concept of time – automatic and monometric. Practiced by force of habit. Quantitative temporal elements, KOELLREUTTER - the music revolutions of a Zen master emanuel dimas de melo pimenta 2 0 1 0

as it is established by clocks. Rational diversified rhythm. It emphasizes the beginning and end of the execution – traditional western music.

Fourth concept of time – achronic. Transcending the measure established by the clock. It reminds the concept of archaic time, pre-magical – a concept that is no more a concept. No evidence of consciousness of time in humans. Disintegration of the classical notion of time.

616 Breve bibliografia http://www.sibila.com.br/index.php/sibila-english/395-anthropopha- gic-manifesto

BRITO, Teca Alencar de – Koellreutter Educador, o humano como ob- jetivo da educação musical. Peirópolis, São Paulo, 2001.

EGG, André. O debate no campo do nacionalismo musical no Brasil dos anos 1940 e 1950: o compositor Guerra Peixe. Dissertação de Mestrado em História, UFPR, 2004.

KATER, Carlos. Música Viva e H. J. Koellreutter. Movimentos em di- reção à modernidade. São Paulo: Musa/Atravez, 2001.

KOELLREUTTER, Hans-Joachim. O caminho da superação dos opostos. MúsicaHoje - Revista de Pesquisa Musical. Belo Horizonte, Núcleo de Apoio à Pesquisa e Centro de Pesquisa em Música Contemporânea da Escola de Música da Universidade Federal de Minas Gerais, n. 2, p. 7-26, 1995.

KOELLREUTTER, Hans Joachim – Estética, á procura de um mundo sem vis-à-vis, Novas Metas, São Paulo, 1983 KOELLREUTTER, Hans Joachim – Harmonia Funcional. Ricordi, São Paulo, 1980.

KOELLREUTTER, Hans-Joachim. Introdução à estética e à composição musical contemporânea. ZAGONEL, B. & CHIAMULERA, S. (orgs.). Porto Alegre, Editora Movimento, 1984.

KOELLREUTTER, Hans-Joachim. A nova imagem do mundo: estética, estruturalismo e planimetria. Revista Música. São Paulo, Departamen- to de Música da Escola de Comunicações e Artes da Universidade de São Paulo, v. 2, n. 2, p. 85-90, 1991.

ZAMPRONHA, Edson S. – Notação, Representação e Composição, An- nablume, São Paulo, 2000.

Recordings

H. J. Koellreutter - Tacape, São Paulo, Brasil 1983 (disc)

Koellreutter - Funarte, Brasil, 1997 (compact disc)

Ácronon - Sérgio Villafranca, São Paulo, Brasil, 1999 (compact disc) onomastic index

Adderley, Julian Cannonball Berio, Luciano Adorno, Theodor Berns-Lee, Tim Adriano, Carlos Beuys, Joseph Agostinelli, Marco Bhagwat, Neela d’Almeida, Arminda – Dona Mindinha Bill, Max Almeida, José Coelho de Bira Anaximander (Anaximandro) Bonaparte, Napoleão Andrade, Mário de Bonner, William Andrade, Oswald de Borges, Jorge Luis Aquina, St. Thomas (São Tomás de Borh, Niels Aquino) Boulanger, Nadia Aristotle (Aristóteles) Boulez, Pierre Áurea Brün, Herbert Ayres, Nelson Bracque, Georges Bratke, Marcelo Bach, Johann Sebastian Brito, Teca (Maria Teresa) Alencar de Bacharach, Burt Brown, Earle Banerjee, Nikhil Burckhardt, Jacob Christoph Bartók, Béla Busoni, Ferruccio Bartoli, Cecilia Bussotti, Ferruccio Bataille, Georges Beethoven, Ludwig van Cabrita, Dulce Berberian, Cathy Cage, John Berg, Alban Campos, Augusto de Berger, René Campos, Haroldo de Capra, Fritjof Eckhout, Albert Caznok, Yara Einstein, Albert Celibidache, Sergiu Elliot, T. S. Cézanne, Paul Epimenides Charles, Daniel Chaurasia, Hariprasad Falla, Manuel de Coclico, Adrianus Petit Ferrier, Kathleen Coleman, Ornette Feynmann, Richard Columbus, Christopher (Cristóvão Foucault, Michel Colombo) Francesca, Piero della Copernicus, Nicolaus Frank, César Coppola, Francis Ford Corona, Eduardo Galilei, Galileu Costa, Valério Fiel da Galvão, Patrícia (Pagu) Cowell, Henry Garaudy, Roger Cozzella, Damiano Gaubert, Philippe Cunningham, Merce Gershwin, George Giron, Luiz Antônio Dali, Salvador Gismonti, Egberto Dallapiccola, Luigi Glass, Philip Debussy, Claude Glucksmann, André Debret, Joan Baptiste Gödel, Kurt D’Elboux (família) Goethe, Johann Wolfgang von Dohnányi, Christoph von Goldelman, Saloméa Domizio, Lucrezia De, Baronesa Durini Gomringer, Eugen Duchamp, Marcel Graça, Fernando Lopes Gropius, Walter Guerra-Peixe, César Guarnieri, Camargo Kandinsky, Wassily Kant, Emanuel Hawkings, Stephen Karabtchevsky, Isaac Harvey, William Kater, Carlos Haydn, Franz Joseph Katunda, Eunice Heidegger, Martin Kaufmann, Walter Heifetz, Jacha Kepler, Johannes Heisenberg, Werner Khan, Ustad Hafezz Ahmed Heraclito Khan, Ustad Sabri Herrigel, Eugen Khan, Ustad Vilayat Hindemith, Paul Kodaly, Zóltan Hitler, Adolf Kokoschka, Oscar Hofstadter, Douglas Kontarsky, Alfons Hokusai, Hatsushika Kontarsky, Aloys Hollanda, Chico Buarque de Krasner, Louis Homero Krieger, Edino Kubrusly, Maurício Ishii, Maki Ives, Charles Lange, Francisco Curt Langer, Susanne Jaeger, Werner Leibowitz, Rene Jobim, Tom Leiner, Jaime John, Saint (São João) Leminsky, Paulo Jordan, Fred Leonin Jorge, Valdemar (Dema) Leventhal, Sígrido Juarez, Benito Lévi-Strauss, Claude Ligeti, Gyorgy Moles, Abraham Lima, Demétrio Mondrian, Piet Lima, Maurício Nogueira Monet, Claude Liszt, Franz Monk, Thelonious Lupasco, Stephanne Morin, Edgar Lutoslawski, Witold Moraes, J. Jota de Moura, Paulo Machault, Guillaume de Moyse, Marcel Mahler, Alma Mozart, Wolfgang Amadeus Mahler, Gustav Mussi, Magali Mahler, Manon Muszkat, Mauro Magnani, Sérgio Marsicano, Alberto Nani, Rodolfo Martiessen, Carl Adolf Niblock, Phill McLuhan, Marshall Nicolescu, Basarab Medaglia, Júlio Nietzsche, Friedrich Medauar, Jorge Nobre, Marlos Mello, Chico Nono, Luigi Mello, Eduardo Kneese de Mendes, Gilberto Oliveira, Jocy de Menezes, Philadelpho Oliveira, Willy Corrêa de Merleau-Ponty, Maurice Oppenheimer, Robert Merz, Mario Ostrower, Fayga Milan, Carlos Milhaud, Darius Pacheco, Diogo Mindlin, José Pagano, Caio Minkowiski, Hermann Paik, Nan June Palestrina, Giovanni Pierluigi da Reich, Steve Parmenides Reggio, Godfrey Pascoal, Hermeto Riegl, Alois Patzak, Julius Riley, Terry Paz, Manoel Venâncio Campos da Rilke, Rainer Maria Paz, Octavio Ritter, Karl Penderecki, Krzystof Robinson, Paula Peirce, Charles Sanders Roman, Beatriz Peixinho, Jorge Rugendas, Johann Moritz Penrose, Martin Pereira, José Antônio Santoro, Cláudio Perotin Satie, Eric Petrarca, Francesco Schack, Margarita Picasso, Pablo Shankar, Ravi Pignatari, Décio Shannon, Claude Pimenta, Laura Scheck, Gustav Pimenta, Luciana Scherchen, Hermann Pollini, Maurizio Scherchen, Tona Porto, Regina Schnabel, Arthur Pound, Ezra Schoemberg, Arnold Près, Josqin des Schoppenhauer, Arthur Prestes, Luiz Carlos Shostakovish, Vladimir Prigogine, Ilya Fedoseyev Prokofiev, Serguei Schröndinger, Erwin Schubert, Franz Rampal, Jean-Pierre Sekeff, Maria de Lourdes Rameau, Jean-Philippe Shuenemann, Georg Schwarz, Alfred Gerhard Villafranca, Sérgio Seiffert, Max Villa-Lobos, Heitor Silja, Anja Vinci, Leonardo da Silva, Conrado Vorobow, Bernardo Soleri, Paolo Souza, Rodolfo Coelho de Waechter, Eberhard Stockhausen, Karlheinz Wagner, Richard Strauss, Richard Walter, Bruno Stravinsky, Igor Webern, Anton Sverner, Clara Wehinger, Rainer Wheeler, John Archibald Tacuchian, Ricardo Wigner, Eugene Taffanel, Paul Wilheim, Joanna Takemitsu, Tohru Wilheim, Jorge Tanaka, Satochi Worringer, Wilhelm Tarso, Saulo Di Taylor, Geoffrey Ingram Young, LaMonte Thomas, Kurt Tinctoris, Johannes Zarif, Fernando Tineti, Gilberto Zé, Tom Tozzi, Cláudio Zenon (Zenão) Tudor, David Turin, Roti Nielba

Vargas, Getúlio Verdi, Giuseppe Vesalius, Andreas Emanuel Dimas de Melo Pimenta has been considered by many as one of the most interesting musician, architect, photographer and intermedia artist of the world at the beginning of the third millennium – according to statements written by personalities like John Cage, Ornette Coleman, Merce Cunningham, John Archibald Wheeler, René Berger, Dove Bradshaw, Daniel Charles, Phill Niblock or William Anastasi among others.

His works are included in some of the most important art collections and world-wide recognised institutions like the Whitney Museum of New York, the ARS AEVI Contemporary Art Museum in Sarajevo, the Biennale of Venice, the Cyber Art Museum of Seattle, the Kunsthaus of Zurich, the Durini Contemporary Art Collection, the Bibliotèque Nationale of Paris and the MART - Modern Art Museum of Rovereto and Trento among others.

He develops music, architecture and urban projects using Virtual Reality, cyberspace technologies and based on neurosciences.

In 2008 he created the first opera on Dante Alighieri’s the Divine Comedy in the history of music, with the world première at the Abstracta Festival, in Rome, Italy. In 2009, his concert CANTO6409, created in partnership with the Italian movie director Dino Viani, who was responsible for the film, is acclaimed at the International Film festival of Cannes, in France.

His works are included in the Universalis Encyclopaedia (Britannica) since 1991, in the Sloninsky Baker’s Music Dictionary (Berkeley), the Charles Hall’s Chronology of the Western Classical Music, as well as in the All Music Guide – The Expert’s Guide to the Best Cds among others. Legendary musicians like John Cage, David Tudor, Takehisa Kosugi, John Tilbury, Christian Wolff, Martha Mooke, John DS Adams, Maurizio Barbetti, Michael Pugliese, Umberto Petrin, Susie Georgetis, Audrey Riley and the Manhattan Quartet among others have performed his compositions.

He collaborated with John Cage, as commissioned composer for Merce Cunningham, from 1985 until his disappearance in 1992. He remained commissioned composer for Merce Cunningham in New York until his disappearance in 2009. His works are part of the Legacy project of the Cunningham Foundation for concerts and performances between 2010 and 2013.

His concerts have been performed in some of the most prestigious theatres all over the world, like the Lincoln Center and The Kitchen in New York; the Opera Garnier or the Theatre de La Ville in Paris; the Shinjuku Bunka Center in Tokyo, the Montpellier Municipal Theatre, the Festival of Aix en Provence, the Modern Art Museum MASP in Sao Paulo, La Fenice in Venice, and the Biennale of Sao Paulo among others.

Articles on his works have regularly appeared in different newspapers and magazines, like The Wire, Ear, New York Times, Le Monde, Le Parisien, Liberation, O Estado de Sao Paulo, O Expresso, and O Globo, Il Sole 24 Ore and la Reppublica, among others.

With more than four hundred musical compositions already recorded, twenty published compact discs, four cd-roms, he has wrote and published about thirty books, several of them individually, several papers, articles and electronic books. His works have been regularly published in England, the United States, Japan, the Netherlands, Portugal, Brazil, Germany, Canada, Switzerland, Hungary, Italy and Spain.

He has also been curator for various institutions, like the Biennale of Sao Paulo, in Brazil; the Calouste Gulbenkian Foundation, in Portugal; the Triennial of Milan, in Italy; and the Belem Cultural Centre, in Lisbon, among others.

In the early 1980s Emanuel Pimenta coined the concept “virtual architecture”, later largely used as specific discipline in universities all over the world. Since the end of the 1970s he has developed graphical musical notations inside virtual environments.

He won the National Marketing Prize in 1977 by the Brazilian Association of Marketing; the APCA Prize in 1986 by the Art Critics Association of Sao Paulo (AICA Section in Sao Paulo); and the Lac Maggiore Prize in 1994 by the Lombardia Regional Government, the International Association of Art Critics, the Unesco and the Council of Europe, in Locarno, Switzerland. In 1993 his works were selected by the Unesco, in Paris, as one of the most representative intermedia researchers of the world.

He is member of the SACD – Societè des Autheurs et Compositeurs Dramatiques in Paris since 1991. He also is an active member of the European Environmental Tribunal, in London, where he has been member of the board since 1995.

He is an active member of the New York Academy of Sciences, of the American Association for the Advancement of Science in Washington DC and of the ASMP - American Society of Media Photographers. He is member and advisor of the AIVAC – Association Internationale pour la Video dans les Arts et la Culture, in Locarno, Switzerland. He was a founding member of the International Society for the Interdisciplinary Study of Symmetry – ISIS Symmetry and the International Symmetry Association, both in Budapest.

He is member of the jury of the BES Fellowship (Experimental Intermedia Foundation of New York, the Luso American Foundation and the Calouste Gulbenkian Foundation) since 1995.

Mr. Pimenta has been frequently invited, as professor and lecturer, by several institutions, among then the universities of New York, Georgetown, Lisbon, Florence, Lausanne, Tsukuba, Sao Paulo, Palermo, the Calouste Gulbenkian Foundation, Monte Verita Foundation in Switzerland and the Technion Institute of Technology in Haifa, Israel.

He his founder and director of the Holotopia Academy, an institution oriented to music, art, philosophy and science, in the Amalfi Coast, Italy. He is also founder and director of the Foundation for Arts, Sciences and Technology – Observatory, in Trancoso, Portugal.

Emanuel Pimenta lives between Locarno, Switzerland, which is his main residence, New York and Lisbon. His site in Internet is www.emanuelpimenta.net Copyrights - cover and pages 89, 140, 158, 200, 216, 244, 250, 271, 277, 284, 399, 407, 411, 427, 454, 463, 486, 489, 490, 517, 521, 526, 540 – by Emanuel Dimas de Melo Pimenta

- page 160 – The composer Hans-Joachim Koellreutter and the pianist Sérgio Villafranca with the spherical score for Acronon. Written by Roberto D Ugo Jr.- http://images.google.pt/ imgres?imgurl=http://musicadiscreta.blog.uol.com.br/images/TSP.jpg&imgrefurl=http://musicadiscreta. blog.uol.com.br/&usg=__EP8rchSNJjg7siKH32TLmf4-04k=&h=376&w=502&sz=17&hl=pt-PT&start= 2&um=1&itbs=1&tbnid=3yEYLNnT4s79EM:&tbnh=97&tbnw=130&prev=/images%3Fq%3Dacronon %26um%3D1%26hl%3Dpt-PT%26lr%3D%26newwindow%3D1%26sa%3DN%26rlz%3D1R2ADSA_pt- PTPT335%26tbs%3Disch:1 em http://musicadiscreta.blog.uol.com.br/

- page 177 – Artikulation by Girgy Ligeti: flickr.com/photos/20661330@NOO/227036970

- page 234, John Cage, Ária – private collection

- page 238, Hans Joachim Koellreutter, Tanka II – private collection

- page 290, Hans Joachim Koellreutter, sketch for a planimetric score – private collection

- page 313, Hans Joachim Koellreutter, Improviso – private collection (copy)

- page 319, Freiburg Panorama 1000, Description Freiburg Panorama 1000.jpg, English: 360° panoramic view of Freiburg, Germany. Pictures taken on the, Schlossberg tower and stitched using Hu- gin. Deutsch: 360° Panorama-Ansicht von Freiburg. Die Fotos wurden vom Schlossbergturm aufgenom- men, und mit Hugin zusammengefügt. Date 02.08.2008

- page 322, Hermann Scherchen, in Maxence Caron, http://maxencecaron.canalculture. com/2009/05/21/bach-lart-de-la-fugue-par-hermann-scherchen/

- page 330, Rio de Janeiro 1938, flickr.com/photos/quadro/256775091/

- page 358, Rugendas, in BELUZZO, Ana Maria de Moraes – The Construction of the Landscape, Metalivros, 1995