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Musikprotokoll 1973 Programmbuch

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Musikprotokoll 1973 Programmbuch Steirischer Herbst '73 ÖSTERREICHISCHER RUNDFUNK Generalsekretariat 8010 Graz, Mandellstraße 38/1 (O]ffil) @il Telefon 73 0 07, 77 3 09, 77 310 STUDIO STEIERMARK Vorwahl Graz: 0 31 22 in Zusammenarbeit Für die Zeit vom 1. bis 22. Oktober mit dem „Steirischen Herbst" befindet sich das Presse- und Informationsbüro des „Steirischen Herbstes" im Hotel Graz ,,Steirerhof", 8010 Graz, Großer Konzertsaal Eingang Gleisdorfergasse 2, der Steiermärkischen Sparkasse Telefon 77 1 00, 77 1 16 (Stephaniensaal) Vorwahl Graz: 0 31 22 Festsaal Das Presse- und Informationsbüro der Pädagogischen Akademie ist täglich von 9 bis 18 Uhr geöffnet. Palais Meran G razer Messe 1ndustriehalle Musik oprotokoll 9. bis 16. Oktober 1973 Musikprotokoll 1973 Veranstaltungskalender Donnerstag, 4. 10. Freitag, 5. 1 0. Samstag, 6. 10. Sonntag, 7. 10. Montag, 8. 10. Dienstag, 9. 10. ~~-, ------ ----- - Palais Meran 15.00 15.00 15.00 15.00 15.00 15.00 Gunther Hampel Gunther Hampel Gunther Hampel Gunther Hampel Gunther Hampel Gunther Hampel Kinder-lmpro- Kinder-lmpro- Kinder-lmpro- Kinder-lmpro- Kinder-lmpro- Kinder-lmpro- visationskurs visationskurs visationskurs visationskurs visationskurs visationskurs Stephaniensaal 19.45 Kattowitzer Rundfunkorchester und ORF-Chor Dir. K. Penderecki eigene Werke Forum Stadtpark Pädagogische Akademie Industriehalle Das Symposion zum Musikprotokoll wird vom lnstitutfürWertungsforschung der Hochschule für Musik und darstellende Kunst in Graz veranstaltet. In der Zeit vom 4. bis 13. Oktober werden von Gunther Hampels Galaxie-Dream-Band und dem Ensemble Suono della Fontana Kontaktkonzerte abgehalten. Beginnzeiten und Veranstaltungsorte werden jeweils durch Presse und Rundfunk bekanntgegeben. Mittwoch, 10. 10. Donnerstag, 11. 10. Freitag, 12. 10. Samstag, 13. 10. Sonntag, 14. 10. Montag, 15. 10. Dienstag, 16. 10. 15.00 15.00 15.00 15.00 Gunther Hampel Gunther Hampel Gunther Hampel Gunther Hampel Kinder-Impro­ Kinder-1 mpro­ Kinder-lmpro­ Kinder-Impro­ visationskurs visationskurs visationsku rs visationskurs öffentliche Schlußveranstaltung 19.45 19.45 19.45 19.45 19.45 Kattowitzer Pro-Arte-Ensemble Colleg. musicum ORF-Symphonie­ Südfunk• Rundfunkorchester Graz Dir. M. Heider orchester und Symphonieorchester Dir. J. Maksymiuk Dir. K. E. Hoffmann Malipiero, Preßl, ORF-Chor Dir. M. Gielen Lutoslawski, Alkalay, Haidmayer Detoni, Cage Dir. F. Cerha Mossolow, Cerha, Haubenstock­ Ligeti, Brand Lachenmann, Varese Ramati, Krauze, Pratella, Honegger Symposion zum Symposion zum Symposion zum Musikprotokoll* Musikprotokoll Musikprotokoll 9.30 9.30 9.30 0. Kolleritsch (Graz) J. Y. Bosseur (Paris) W. Zobl (Wien) H. K. Metzger D. Kaufmann (Wien) N. Blumenkranz (Venedig) 15.00 (Paris) F. K. Prieberg W. Rosenberg R. Rubinig (Graz) (Bremen) (München) 15.00 15.00 K. Wiggen K. Skyllstad (Oslo) P. Vujica (Graz) (Stockholm) Diskussion E. Fubini (Turin) 19.45 Budapester Kammerensemble Dir. A. Mihaly Szöllosy, Szekely, Xenakis Lang, Balassa 22.00 Elektron. Konzert P. Schaeffer / P. Henry E. Varese, P. Carson L. Nono, F. Bayle 19.00 Domaine musical Dir. G. Amy Stockhausen, Jolas, Xenakis, Amy Suono della Fontana Logothetis, Mellnäs, Moran, Hauben­ stock-Ramati Gunther Hampel and his Galaxie Dream Band Stephaniensaal Dienstag, 9. Oktober, 19.45 Uhr Krzysztof Penderecki Krzysztof Penderecki, Das Große Symphonie­ geb. 1933 in Debica orchester des (Polen). Nach privaten Polnischen Rundfunks Polymorphia Musikstudien Besuch der und Fernsehens wurde für 48 Streichinstrumente Krakauer Musikhoch­ 1934 in Warsc hau gegrün­ österreichische Erstaufführung schule, wo er später auch det und errang 1937 in eine Kompositionsklasse Paris während der führte. 1966/ 67 Lehr­ Weltausstellung unter Partita auftrag an der seinem damaligen für konzertierendes Cembalo, vier Soloinstru mente Folkwangschule in Essen; Dirigenter.i und Orchester lebt zur Zeit als frei­ Grzegorz Fitelberg österreichische Erstaufführung schaffender Komponist. eine Goldmedaille. Nach Hauptwerke: Kriegsende begann Anaklasis, 1960; die Neuorganisation des Pause Fluorescences, 1962; Orchesters unter der Polymorphia fü r künstleri schen Leitung De natura sonoris Nr. 2 48 Streichinstrumente, von Witold Rowicki. 1961; Threnos, zum Zahlreiche Tourneen österreichische Erstaufführung Gedenken an die Opfer durch Ungarn, Rumänien, von Hiroshima, 1963; Jugoslawien, Bulgarien, Canticum canticorum Salomonis Lukaspassion, 1966; Belgien, Holland, Österreichische Erstaufführung Dies irae, Oratorium zum Frankreich, Großbritannien, Gedächtnis der Opfer Japan, Australien, Neu­ von Auschwitz, 1967; seeland, China, die UdSSR. Capriccio für Violine und Seit dem Krieg 1 50 Orchester, 1967; Uraufführungen Die Teufel von Loudon, zeitgenössischer polnisc her 1969; Utrenja, Komponisten. Grablegung und Das Orchester spielte Auferstehung Christi, unter folgenden pro­ 1970 /71; Partita für minenten Gastdirigenten: konzertierendes Cembalo, Paul Kletzki, Kiry vier Soloinstrumente und Kondraszyn, Carlo Zecchi, Orchester, 1971 ; De Ernest Bour, Vaclav natura sonoris Nr. 2, Smetacek u. a. 1971 ; Canticum Als Solisten arbeiteten canticorum Salomonis, mit dem Orchester u. a. 1970- 1973; 1. Sinfonie, zusammen: Artur 1973. Rubinstein, lzaak Stern, David und lgor Oistrach. H enryk Szeryng, Robert Soetens, Andre Gertler und Maurizzio Pollini. Das Große Symphonieorchester des Polnischen Rundfunks, Radio Kattowitz der ORF-Chor Dirigent: Krzysztof Penderecki Choreinstudierung: Gottfried Preinfalk Felicia Blumental, Cembalo Wolfram Schwinger über Krzysztof und unterschiedlich artikulierten Tonbündel Instrumentalsuite, sondern eher - nach Pendereckis „Polymorphie" für gewinnt Penderecki vor allem aus Clusters älterem Wortgebrauch - ein Variationen­ 48 Streichinstrumente (1961) und Glissandi, aus Erhöhungen um Viertel­ zyklus, dessen Spiel- und Bewegungs­ und Dreivierteltöne, aus sehr langsamem strukturen Penderecki eng verzahnt hat. Das Streicherstück „Polymorphia" hat Vibrato mit vierteltönigen Frequenz­ Dabei ergeben sich in der Einsätzigkeit Penderecki im Auftrag des Norddeutschen differenzen, auch aus sehr schnellem, nicht­ durch deutliche Entsprechungen spürbare Rundfunks Hamburg im Jahre 1961 rhythmisiertem Tremolo. Darüber hinaus formale Gliederungen, bis hin zu einer still komponiert und seinem ersten westlichen schreibt Penderecki unregelmäßige ausklingenden Coda. Das Werk ist für ein Verleger, Dr. Hermann Moeck, gewidmet. Bogenwechsel oder schnellste Repetitionen konzertierendes Cembalo geschrieben, dem Es gehört zu Pendereckis früher Serie von vor, auch das Spiel zwischen Steg und eine Gruppe von vier weiteren Solo­ Kompositionen für Streichinstrumente, deren Saitenhalter, den Bogenstrich auf dem instrumenten zugeordnet ist (elektrische Diffusionsmöglichkeiten ihn (der selber Saitenhalter oder auf dem Steg. An Gitarre und Baßgitarre, Harfe und Geiger war) besonders interessierten. Dabei bestimmten Stellen wird verlangt, mit Kontrabaß), dazu das Orchester, das relativ erschlossen sich ihm die damals noch offener Hand auf die Saiten zu schlagen, klein besetzt ist - mit neun Holz- und weitgehend unerforschten Grenzbezirke mit Frosch oder Fingerspitze die Decke zu sechs Blechbläsern, Schlagwerk (in dem zwischen Klang und Geräusch. Diese Serie beklopfen oder mit dem Bogen auf das Pult Glockenspiele samt Kuhglocke, auch die begann mit den „Emanationen" für zwei zu schlagen. Alles hat nur das eine Ziel: Celesta, eine besondere Rolle spielen), Streichorchester (1958/59), von denen eines Neue Klanglandschaft zu gewinnen, und sei ferner zwölf Violinen, vier Bratschen und um einen Viertelton höher gestimmt ist als es - laut Partiturvorschrift - ein „häßliches Celli und zwei Kontrabässe. Die das andere; sie wurde 1960 fortgesetzt mit Knirschen". Die dynamische Skala des Soloinstrumente sollen alle elektrisch ,,Anaklasis" für Streicher und Schlagzeug­ Stücks beginnt in dreifachem Pianissimo verstärkt werden. Als Zeitdauer sind in der gruppen, einer schon sehr viel prägnanteren und endet geräuschhaft im Fortefortissimo, Partitur zirka 19 Minuten angegeben. Komposition, die mit ihrer Kombination mit einem völlig unerwartet angehängten Die Bratschen beginnen die „Partita" mit seltsam fluktuierender Klanggeräusche und C-Dur-Akkord. der Repetition des Tones a in großer Schlagklänge fasziniert; sie fand ihren dynamischer Vielfalt (zwischen pppp und fff), ersten Höhepunkt im Jahr darauf in „begleitet" von in regelmäßigen „Threnos" für 52 Streicher, einer dichten Vierteln wiederholten Akkorden Klangstudie, die ebensoviel Energie wie Wolfram Schwinger über Krzysztof der Violinen und Celli, die allmählich - Poesie entbindet. Pendereckis „Partita" für auch mit Vierteltönen - zu dichten „Polymorphia" ist direkt danach entstanden konzertierendes Cembalo, vier Clusters „aufgefüllt" werden; und erweitert die Versuche Pendereckis, Soloinstrumente und Orchester (1971) diese Akkorde werden später den Streichern neue Farben und Klang­ rhythmisch-metrisch verwischt, durch effekte zu entlocken. Die Partitur des etwa Vor Pendereckis jüngstem Orchesterwerk, Überlappungen von gleichzeitig gespielten zehn Minuten dauernden Werks schreibt der im Juli dieses Jahres in Peterborough Halben, Vierteln, Achteln, Sechzehnteln, 24 Violinen und je acht Bratschen, Celli und uraufgeführten Ersten Sinfonie, ist die zum Teil in Triolen oder Quintolen. Kontrabässe vor. Die Notierung erfolgte „Partita" entstanden. Schon bei ihr ist die Nicht nur damit, sondern auch in den nicht in traditioneller Notenschrift, sondern weitgehende Rückkehr zu traditioneller rasenden Mikrostrukturen des Solo­
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