DOCSLIB.ORG

Inhalt Index

Total Page：16

File Type：pdf, Size：1020Kb

Download full-text PDF Read full-text
Inhalt Index Ensemble Modern Newsletter 2013/2 Nr. 38 Inhalt Index Dear Music Lovers, I am happy that once again, our events of the coming Eva Böcker months reflect the diversity of the Ensemble. The pro- gramme features 17 world premieres as well as guest performances at international festivals, a joint dance project with the ballet of the State Theatre Wiesbaden and the festival ›cresc…‹ with its focus on Bernd Alois Zimmermann – an event we hope will inspire numerous listeners to visit Southern Hesse. 2 4 Endlich Zeitgenosse werden 3 I would also like to take this opportunity to thank our 10 Jahre Internationale Ensemble Modern Akademie faithful and open-minded Frankfurt audience for its Finally Becoming a Contemporary unflagging willingness to follow us on any new adven- International Ensemble Modern Academy: Ten Years ture. I am delighted that despite the constant »show- ering« of music that has become part of our daily life, 12 Geteilt – vereint. Musik beiderseits der Mauer you do not shy away from the challenge of active Konzerte in der Reihe ›Happy New Ears‹ listening, and that you seek out the experience of wit- Divided – united. Music on either side of the Wall nessing the production of sound through the »craft« Concerts in the series ›Happy New Ears‹ of the musician. 17 Loops and Lines Yours, Eva Böcker Tanzprojekt zu Rudolf von Labans Bewegungslehre mit dem Ballett des Staatstheaters Wiesbaden und dem Ensemble Modern Loops and Lines A Dance Project on Rudolf von Laban’s Movement Studies with the Ballet of the State Theatre Wiesbaden and the Ensemble Modern 24 Ein zeitloser Denker der Zeit Bernd Alois Zimmermann als Impulsgeber des Festivals cresc...2013 A Timeless Thinker of Time Bernd Alois Zimmermann: Impulse for the Festival cresc…2013 31 CDs bei Ensemble Modern Medien CDs at Ensemble Modern Media 32 Neue Ensemble-Fassung von Leonard Bernsteins ›A Quiet Place‹ New Ensemble Version of Leonard Bernstein’s ›A Quiet Place‹ 34 Tourplan und Sendetermine Concert and broadcasting dates Titelcollage: Try-out ›Loops and Lines‹ sowie Skizzen zu Eva Böcker, seit 1994 Cellistin des Ensemble Modern (English translation next page) Bernd Alois Zimmermanns ›Présence‹ Finally Becoming a Contemporary International Ensemble Modern Academy: Ten Years by Stefan Fricke Endlich Zeitgenosse werden 10 Jahre Internationale Ensemble Modern Akademie von Stefan Fricke Anyone who sets out to become even more of a 4 contemporary than he or she is already is not exactly in for an easy time. Getting to know the present and most recent history, hard as it may be to believe, is a rather laborious undertaking – at least for those who wish to educate them- selves in contemporary music. Generally under- Wer noch mehr Zeitgenosse werden will, als er standable textbooks are lacking, its treatment oder sie es ohnehin schon ist, hat es nicht gerade in the media is often unnecessarily complicated, leicht. Das Kennenlernen der Gegenwart und der as their language always sounds like a convoluted jüngeren Geschichte, man mag es kaum glauben, regional dialect, and concert posters are often gestaltet sich als ziemlich aufwendiges Unter­ hard to decipher without a degree in higher culture. fangen. Jedenfalls für diejenigen, die sich in zeit­ Admittedly, the subject of music, of new music, Tokyo Wonder Site, 2011 genössischer Musik schulen wollen. Allgemein­ is not simple and never was. An artwork in sound verständliche Sachbücher fehlen, die mediale Ver­ may be and should be complex; as complex as its mittlung ist oft unnötig kompliziert, ihre Sprache author thinks it needs to be. It does not have to be klingt vielfach wie ein verquaster Regional-­Dialekt beautiful or catchy. Neither is the world, and und Veranstaltungsplakate lassen sich häufig neither are its sister arts. However, the environ- ohne vorab erworbenes Kulturpatent nur schwer ments in which new music is performed could entziffern. Zugegeben: Die Sache Musik, neue easily present themselves in a more accessible Musik, ist nicht einfach, das war sie nie. Das klin­ manner. Contemporaries would then have an Als das Ensemble Modern (EM) 1980 gegründet When the Ensemble Modern (EM) was founded in gende Kunstwerk darf und soll komplex sein; easier time finding the desired paths into the pre- wurde und durch außergewöhnliches Engage­ 1980 and forged a career through extraordinary so wie der Urheber denkt, dass es zu sein hat. Es sent. Incidentally, such roadblocks are identical ment, unermüdlichen Fleiß, große Experimen­ activism, unrelenting diligence, a great spirit of ex- muss weder schön noch eingängig sein. Die Welt for curious listeners and for young musicians wish- tierfreude, kluge Programmideen sowie heraus­­­­­­­ perimentation, smart programming ideas and ist es auch nicht, und die Schwesterkünste sind ing to dedicate their lives to the cultivation of ra­­­­gendes musikalisches Können als eine der outstanding musical ability, thus proving itself one es ebenso wenig. Aber die Umgebungen neuer contemporary music. They too must overcome an in­­novativsten Formationen im internationalen of the most innovative formations on the inter- Musik könnten sich ohne allzu viel Aufwand unnecessary number of obstacles on their way, Musikbetrieb Karriere machte und kontinu ier­­lich national music scene and continuously accumulating durchaus zugänglicher präsentieren. Die Zeitge­ taking confusing detours in order to become what ein bisher nicht gekanntes Wissen in den Spiel­ unprecedented knowledge of the contemporary nossen hät ten es leichter, die gesuchten Wege they wish to be: true contemporaries, ambassa- feldern der neuen Musik ansammelte, erkannten music field, the members and associates of Ensem- in die Gegen wart tatsächlich zu finden. Solche dors for the music of today, for the here and now. die Ensemble Modern­-Akteure schon recht bald, ble Modern soon recognised that all this would not Schwierigkeiten dahin teilen neugierige Hörer dass all das allein nicht genügt, um die zeitge­ be enough to anchor contemporary music in society übrigens mit den jungen Musikerinnen und Musi­ nössische Musik angemessen und dauerhaft in in an appropriate and lasting manner. Much kern, die ihr Leben ganz der Gegenwartspflege der Gesellschaft zu verankern. Man überlegte, thought was given to the question of how know­­ widmen wollen. Auch sie müssen auf ihren Pfaden wie sich das zweifellos gerne, zugleich sehr ledge – the acquisition of which, no matter how unnötig viele Hürden nehmen und verworrene zeitintensiv , mithin mühselig Erworbene an jün­ willingly undertaken, remains time-consuming Umwege einschlagen, um das zu werden, was sie gere Musiker weitergeben ließe. So entstanden and occasionally arduous – could be passed on to werden wollen: echte Zeitgenossen, Botschafter erste, vereinzelte Projekte, etwa die intensive younger musicians. This led to some first isolated für die Musik von heute, für jetzt und gleich. Die Basis dafür sind die seit Gründung des Ensemble The experience and insights into the treatment of Modern angehäuften Erfahrungen und Erkennt­ music of our time that the Ensemble Modern has nisse im Umgang mit der Musik unserer Zeit. Das gained since its founding form the basis and heart betrifft vor allem alle nur denk baren Aspekte ad­ of these concepts. They cover all imaginable aspects äquater Aufführungen von zeitgenös sischer Musik, of adequate performances of contemporary music deren ästhetische, notations­- und spieltechnische and all its incredibly colourful variety of aesthetics, Vielfalt unglaublich bunt ist. Die praktischen Erfor­ notation and performance technique. Practical re- dernisse ändern sich von Komponist zu Kompo­ quirements vary from composer to composer, even Klangspuren Schwaz, 2006 | Workshop Helmut Lachenmann, 2010 | IEMA-Ensemble, 2012 | Workshop Steve Reich, 2006 nist, gar von Werk zu Werk. Und die heute oft from one work to the next. Furthermore, the inte- selbstverständliche Einbindung elektronischer gration of electronic sound sources, often taken for Klangmittel und die manchen Kompositionen granted today, and the theatrical action which eingeschriebenen thea tralischen Aktionen ver­ some pieces demand require an additional trans- Unterrichtstätigkeit an verschiedenen Musikkon­ projects, for example intensive teaching periods at langen zusätzlichen Wissenstransfer. Und das fer of knowledge. And that is not all the Ensemble servatorien in Südamerika während einer Tournee various South American conservatories during a ist längst nicht alles, was das Ensemble Modern Modern teaches through the IEMA projects – in im Jahr 1984 oder das gemeinsam in Frankfurt mit tour in 1984, or the Young Talents Forum for instru- neben der umtriebigen Tätigkeit als international addition to its busy schedule as an internationally der Gesellschaft für Neue Musik (GNM) sowie men talists, composers and musicologists held several gefragter Klangkörper mit über hundert Konzerten sought-after ensemble with over one hundred wechselnden Partnern mehrmals durchgeführte times in Frankfurt in cooperation with the Gesell- pro Jahr im Rahmen der IEMA­Projekte vermittelt. concerts per year. Additional teaching subjects are Nachwuchsforum für Interpreten, Komponisten schaft für Neue Musik (GNM or Society for Contem- Es geht auch um Aspekte der (Selbst­)Organisation, aspects of (self-)organisation, music production und Musikologen. Neben den Darmstädter Ferien­ porary Music). Apart from the Darmstadt Summer der Musikproduktion und ­distribution, der Pro­ and distribution, programme development etc. In 6 kursen waren
Load more

Recommended publications
  • Expanding Horizons: the International Avant-Garde, 1962-75
    452 ROBYNN STILWELL Joplin, Janis. 'Me and Bobby McGee' (Columbia, 1971) i_ /Mercedes Benz' (Columbia, 1971) 17- Llttle Richard. 'Lucille' (Specialty, 1957) 'Tutti Frutti' (Specialty, 1955) Lynn, Loretta. 'The Pili' (MCA, 1975) Expanding horizons: the International 'You Ain't Woman Enough to Take My Man' (MCA, 1966) avant-garde, 1962-75 'Your Squaw Is On the Warpath' (Decca, 1969) The Marvelettes. 'Picase Mr. Postman' (Motown, 1961) RICHARD TOOP Matchbox Twenty. 'Damn' (Atlantic, 1996) Nelson, Ricky. 'Helio, Mary Lou' (Imperial, 1958) 'Traveling Man' (Imperial, 1959) Phair, Liz. 'Happy'(live, 1996) Darmstadt after Steinecke Pickett, Wilson. 'In the Midnight Hour' (Atlantic, 1965) Presley, Elvis. 'Hound Dog' (RCA, 1956) When Wolfgang Steinecke - the originator of the Darmstadt Ferienkurse - The Ravens. 'Rock All Night Long' (Mercury, 1948) died at the end of 1961, much of the increasingly fragüe spirit of collegial- Redding, Otis. 'Dock of the Bay' (Stax, 1968) ity within the Cologne/Darmstadt-centred avant-garde died with him. Boulez 'Mr. Pitiful' (Stax, 1964) and Stockhausen in particular were already fiercely competitive, and when in 'Respect'(Stax, 1965) 1960 Steinecke had assigned direction of the Darmstadt composition course Simón and Garfunkel. 'A Simple Desultory Philippic' (Columbia, 1967) to Boulez, Stockhausen had pointedly stayed away.1 Cage's work and sig- Sinatra, Frank. In the Wee SmallHoun (Capítol, 1954) Songsfor Swinging Lovers (Capítol, 1955) nificance was a constant source of acrimonious debate, and Nono's bitter Surfaris. 'Wipe Out' (Decca, 1963) opposition to himz was one reason for the Italian composer being marginal- The Temptations. 'Papa Was a Rolling Stone' (Motown, 1972) ized by the Cologne inner circle as a structuralist reactionary.
    [Show full text]
  • York Höller References Within This Musical Cell Gain Importance for All Dimensions of the Musical Form: Melody, Harmony and Temporal Structure
    contain a secret, a teleological direction, the breath of life, as in a seed. The York Höller references within this musical cell gain importance for all dimensions of the musical form: melody, harmony and temporal structure. Höller’s method, which he himself calls "permanent development", is always open to spontaneous intervention and the fantasy of the creative impulse. More than any other composer, Höller is concerned with blending the dimensions of electronic sound with traditional instrumental and vocal music. Through the tension between these polarised mediums, new worlds open up to his extravagant sound sensibility, at times inspired by mythical and dreamlike ideas. He explores these and invites us, his listeners, to travel with him. York Höller photo © Hanne Engwald Höllers’s two-act opera _Der Meister und Margarita_ was premiered at the Paris An introduction to York Höller’s music by Helmut Rohm Opéra with resounding and lasting success in 1989. Höller himself wrote the libretto based on the novel of the same name by Mikhail Bulgakov: it was the The composer York Höller has consistently and undogmatically followed his own tragic fate of a politically persecuted artist depicted with theatrical colour and path, without undue involvement in either the agitated stylistic debates or the often surreal complexity that fascinated him. It is Höller’s power of reflection and his vehement disputes over personal reputation which have dominated recent music ability, in re-examining his own concepts, of always finding individual solutions history. It is rather the pursuit of developmental logic that is of central importance and translating them into a ‘telling’ and comprehensible form that characterise his both for his musical output and for the course of his artistic career.
    [Show full text]
  • Between Stockhausen/Zimmermann and Eisler/Dessau: the Italian Composer Luca Lombardi in the Two Germanies
    Between Stockhausen/Zimmermann and Eisler/Dessau: The Italian Composer Luca Lombardi in the Two Germanies [with a list of selected works and writings] Cold War Divisions The Iron Curtain was not as ironclad as captured by Churchill’s colorful and certainly appropriate verdict, and the Berlin Wall—erected more than fifty years ago as the most visible and ominous piece of architecture of the Cold War—was not as impenetrable, as minefields, watch towers, self-shooting mechanisms, and the orders to kill trespassers implied. But the traffic was largely one-sided—from West to East. Visits to the “other” side largely depended on what kind of passport one happened to have. Living in Berlin (West) during the 1960s, I frequently crossed the checkpoint at the S- Bahnhof Friedrichstraße, exchanged the obligatory amount of D-Mark-West for D-Mark-Ost at the obligatory rate of 1:1, paid an additional administrative fee, waited in line (sometimes for an hour or more), until I was admitted to stand before a more or less unfriendly border guard to answer questions about the nature of my visit and, most importantly, whether I carried any printed matter—“brinted madder” in Saxonian dialect. Newspapers and books deemed unworthy of entry were submitted to a shredder. When I finally had passed all the hurdles to enter the capital of the DDR, I was indeed in a different country. It smelled differently: the disinfectant used there and brown-coal--burning stoves imbued the DDR with a distinct odor. The newspapers had entirely different headlines than those in the Western half of the city.
    [Show full text]
  • Stratégies Citationnelles Dans Die Soldaten De Bernd Alois Zimmermann Lise Viens
    Document generated on 09/27/2021 3:53 a.m. Canadian University Music Review Revue de musique des universités canadiennes Stratégies citationnelles dans Die Soldaten de Bernd Alois Zimmermann Lise Viens Volume 17, Number 1, 1996 Article abstract L’auteure examine trois extraits de l’opéra Die Soldaten (1958-60, 1962-64) de URI: https://id.erudit.org/iderudit/1014690ar Bernd Alois Zimmermann et montre comment la citation est venue fournir des DOI: https://doi.org/10.7202/1014690ar solutions aux problèmes compositionnels rencontrés la dans conception d’une œuvre dramaturgique à ce moment crucial dans l’évolution vers la See table of contents formulation du pluralisme musical, technique compositionnelle définie par le compositeur vers 1960 et visant à traduire une conception sphérique du temps. Ces trois passages sont la deuxième scène du deuxième acte (janvier 1960), où Publisher(s) l’insertion d’un choral de Bach est venue résoudre le problème de la représentation simultanée de trois scènes, « Intermezzo » du même acte (avril Canadian University Music Society / Société de musique des universités 1963), privilégiant également un choral de Bach comme fondement du canadiennes complexe (à la manière d’un cantus firmus) et enfin, le « Preludio » (novembre 1962), où la démultiplication du Dies Irae en canon proportionnel révèle à la ISSN fois la fascination de Zimmermann pour les techniques polyphoniques franco-flamandes et l’importance structurelle qu’accorde le compositeur aux 0710-0353 (print) passages citants, ici non plus au centre d’une structure tripartite comme dans 2291-2436 (digital) les deux cas précédents, mais comme aboutissement du processus dramaturgique.
    [Show full text]
  • View Article (PDF)
    GESJ: Musicology and Cultural Science 2020|No.2(22) ISSN 1512-2018 UDC78 TRITONAL SYMMETRY AND SYSTEMIC CONSTRUCTIVISM Božena Čiurlionienė Lithuanian Academy of Music and Theatre Abstract The tritone enjoyed particular attention on both the theoretical and creative planes in the 20th century: one could say that, in the 20th century, the dominance of the tritone in music reached its apogee. Tritone-based symmetrical sequences became an important object of analysis. The expression of this interval is unique in coordinating the linear and the vertical parameters and the structure of a composition. For this reason, the current paper unfolds the constructiveness of the phenomenon of the tritone symmetry in series, in harmony, and on the vertical and the diagonal using more prominent postwar avant-garde examples. It explores the significance of the tritone in 12-tone music, in which it manifests itself through symmetry, specific dissonance, and tension. Tritonal symmetry and strict constructivism are especially characteristic of the postwar avant-garde leaders Nono, Boulez, or Stockhausen, who were active participants of the Darmstadt Summer Course, the centre of post-Webernian serialism. In the analysis of the change in the tritone concept in the context of the postwar avant-garde, we shall explore 12-tone series from a structural, harmonic, and melodic viewpoint as well as their spread in compositions. Keywords: tritone, dissonance, contemporary music, twelve-tone matrix, cyclic set, Allintervallreihe [all-interval row] Introduction The tritone was a particularly significant factor in composing music during the 20th century. It was consistently and systematically incorporated into compositional models, cf. Josef Matthias Hauer (1883–1959), Arnold Schönberg (1874–1951), Anton Webern (1883–1945), Bernd Alois Zimmermann (1918–1970) Luigi Nono (1924–1990) ), Pierre Boulez (1925–2016), and Karlheinz Stockhausen (1928–2007).
    [Show full text]
  • Some Thoughts on the Music Archives Held by the Berlin Akademie Der Künste
    Some Thoughts on the Music Archives Held by the Berlin Akademie der Künste Werner Grünzweig Akademie der Künste, Berlin Historically, the Akademie der Künste is known for its master classes in musical composition held by figures such as Arnold Schoenberg, Ferruccio Busoni and Franz Schreker or, after the war, Paul Dessau, Hanns Eisler and Rudolf Wagner- Régeny. But despite the fact that the Akademie is the parent organisation of the Berlin Hochschule – an extension dating to the late 1860s – it is no longer a teaching institution. An association of artists whose activities range from architecture, the visual arts and music to the performing arts, literature, film and media, the Akademie holds archives which mirror these various departments (‘Sektionen’). Furthermore, it hosts a large collection of artworks as well as a library containing many personal libraries of artists whose manuscripts are gathered in the archives. The Akademie helps to give artistic concerns a public voice that goes well beyond that of an individual. The Akademie also serves as a forum for new artistic developments that would otherwise be drowned out by the shrill acoustics of the commercialised world, organising concerts, exhibitions, lectures, discussion forums, film events, theatre and dance performances, etc. While the conference Musicians’ Correspondences and Interaction between Archives was being held in Venice, Oscar Schlemmer’s Triadisches Ballett in the 71 ARCHIVAL NOTES Sources and Research from the Institute of Music, No. 1 (2016) © Fondazione Giorgio Cini, Venezia ISBN 9788896445136 | ISSN 2499‒832X WERNER GRÜNZWEIG production of Gerhard Bohner with new music by Hans-Joachim Hespos was being shown at one of the Akademie’s venues.
    [Show full text]
  • Swiss Chamber Soloists
    www.fbbva.es www.neos‐music.com COLLECTION BBVA FOUNDATION ‐ NEOS Alberto Ginastera Popol Vuh ⋅ Cantata para América Mágica The WDR SYMPHONY ORCHESTRA COLOGNE (WDR Sinfonieorchester Köln) was founded in 1947 by what was then Northwest‐German Radio as the broadcaster’s own orchestra. It has worked and recorded with conductors of the stature of Otto Klemperer, Sir Georg Solti, Dimitri Mitropoulos, Herbert von Karajan, and Claudio Abbado, giving some forty concerts each season in the Cologne Philharmonic and West‐German Radio’s broadcasting region. It has also toured Europe and the Far East, becoming the first German orchestra to perform all of Mahler symphonies in Tokyo (under Gary Bertini, 1990–91). Besides the classical‐ romantic repertoire, it cultivates the music of the 20th and 21st centuries and has given world or German premières of works by Hans Werner Henze, Mauricio Kagel, Luciano Berio, Luigi Nono, Bernd Alois Zimmermann, and Karlheinz Stockhausen. Since the 1997/98 season its principal conductor has been Semyon Bychkov. RAYANNE DUPUIS was born in Canada and studied at the State University of New York, Yale University, and the University of Toronto. She is a member of the Canadian Opera Company Ensemble Studio and has sung many roles, including Laura (Luisa Miller), Destino & L’infea (La Calisto), Karolka (Jenufa), Echo (Ariadne auf Naxos), The Cock (The Cunning Little Vixen), and Helen in the première of Red Emma by Gary Kulesha. In 1998 she gave her European début as Marguerite in Arthur Honegger’s Jeanne d’Arc au bûcher at the Comédie de Clermont‐Ferrand. She has sung the title role in Lulu, Blanche de la Force in Dialogues des Carmélites, and the title role in the eponymous opera Jackie O by the American composer Michael Daugherty at the Opéra Théâtre de Metz.
    [Show full text]
  • Pierre Boulez's Rarely Performed Spatial Masterpiece Répons to Be
    Pierre Boulez’s Rarely Performed Spatial Masterpiece Répons To Be Staged as it was Originally Intended For the First Time In Over a Decade in North America Unprecedented Performance at Park Avenue Armory Fully Realizes the Demanding Work and Honors the Visionary Composer One Year After His Passing Conducted by Matthias Pintscher with Ensemble intercontemporain and IRCAM, both created by Boulez October 6 – 7, 2017 Pierre Boulez composing Répons. Photo by Marian Kalter, AKG Images. New York, NY – July 11, 2017 – This October, Park Avenue Armory honors the visionary work of composer Pierre Boulez in a rare staging of his spatial masterpiece Répons with the Ensemble intercontemporain, its Musical Director Matthias Pintscher, IRCAM, and six soloists from the Ensemble. Utilizing the vast and open space of the Wade Thompson Drill Hall, the Armory will present an unprecedented realization of the work in its demanding configuration, positioning the Ensemble in the center of the audience as they, in turn, are surrounded by soloists and intricate amplification. The composition will also be played twice in succession each evening, with audience members switching seats to hear the work from different locations, changing the sonic dimensions and spatial relationship of their experience. Répons marks the first New York performance of a major work by Boulez since his passing in early 2016, and the first time in over a decade that this masterpiece has been staged as it was originally intended in North America. “Boulez was ahead of his time, fighting for contemporary music in a world that resisted letting go of its nostalgia for the past,” said Pierre Audi, Artistic Director of Park Avenue Armory.
    [Show full text]
  • A Performance Guide to Bernd Alois Zimmermann's Trumpet Concerto
    A PERFORMANCE GUIDE TO BERND ALOIS ZIMMERMANN'S TRUMPET CONCERTO, “NOBODY KNOWS DE TROUBLE I SEE” Matthew Haley, B.M., M.M. Dissertation Prepared for the Degree of Doctor of Musical Arts UNIVERSITY OF NORTH TEXAS May 2013 APPROVED: Keith Johnson, Major Professor Eugene Corporon, Committee Member John Holt, Committee Member John Murphy, Director of Graduate Studies in College of Music James C. Scott, Dean of the College of Music Mark Wardell, Dean of the Toulouse Graduate School Haley, Matthew. A Performance Guide to Bernd Alois Zimmermann's Trumpet Concerto, "Nobody Knows de Trouble I See." Doctor of Musical Arts (Performance), May 2013, 38 pp., 14 examples, 3 figures, bibliography, 60 titles. Bernd Zimmermann's Trumpet Concerto, "Nobody Knows de Trouble I See" is an important twentieth-century work for trumpet. Despite the stature of the composition, it has rarely been performed due to its considerable musical and technical demands. Integrating these diverse demands into a coherent performance requires careful consideration of the various performance practice consequences. The study begins by exploring the historical and musical context in which the work was written. It then considers the individual musical elements of the concerto. Finally, the study examines the performance practice implications of the work. The performance guide serves as a framework for making intelligent musical and technical decisions through context, analysis, and practical considerations. Copyright 2013 by Matthew Haley ii ACKNOWLEDGEMENTS I would like to thank my teachers for their patient guidence: Ray Crisara, Ray Sasaki, Michael Tunnell, and Keith Johnson. I would also like to thank my wife Tyra for her love and support.
    [Show full text]
  • BIOGRAPHY Born in Leverkusen in 1944, Höller Studied Composition In
    YORK HÖLLER - BIOGRAPHY Born in Leverkusen in 1944, Höller studied composition in Cologne with B. A. Zimmermann and Herbert Eimert, and piano with Alfons Kontarsky, as well as music education and musicology. He received important impulses from Karlheinz Stockhausen and Pierre Boulez, having frequently worked at Boulez’s IRCAM institute in Paris. His oeuvre encompasses an opera (THE MASTER AND MARGARITA, premiered in 1989 in Paris), orchestral works, chamber and piano music, as well as electronic and live-electronic compositions. From 1990 to 1999 he was artistic director of the Studio for Electronic Music of the West German Radio (WDR), and is currently Professor of Composition at the Cologne College of Music. York Höller attained international fame as a result of numerous performances throughout Europe and in the USA and a number of CD releases of his works, and not least with his orchestral work AUFBRUCH (departure), which was composed as a commission from the German parliament on the occasion of its departure from Bonn. *** From 1963–70 Höller studied composition (with Bernd Alois Zimmermann and Herbert Eimert), piano (with Alfons Kontarsky) and orchestral conducting at the Cologne College of Music, as well as musicology and philosophy at Cologne University, earning his teaching certificate in 1967. He also owes important impulses to the Darmstadt Summer Courses, particularly Pierre Boulez’s analysis seminars. In 1971, after a short time as solo répétiteur at Bonn’s Stadttheater, he for the first time received an opportunity, at the invitation of Karlheinz Stockhausen, to realize several of his own works in the Electronic Studio of the West German Radio (WDR) in Cologne.
    [Show full text]
  • Bernd Alois Zimmermann: Canto Di Speranza
    ECM Bernd Alois Zimmermann: Canto di speranza Violin Concerto (1950) Canto di speranza (1952/57) Ich wandte mich und sah an alles Unrecht, das geschah unter der Sonne (1970) Thomas Zehetmair, violin Thomas Demenga, violoncello Gerd Böckmann and Robert Hunger-Bühler, recitation Andreas Schmidt, bass WDR Sinfonieorchester Köln, Heinz Holliger ECM New Series 2074 CD 0289 476 6885 (5) Release: Oktober 2008 Heinz Holliger, Thomas Zehetmair, and Thomas Demenga, three long-standing ECM artists, team up for an exceptional recording of three works by German post-war composer Bernd Alois Zimmermann. Thomas Zehetmair’s fiery rendering of the violin concerto is the only studio production of the piece currently available. The production was realised by the WDR radio orchestra in Cologne – the city where the composer was raised, lived and taught at the Musikhochschule and where many of his works were given their premières. Zimmermann, hardly ten years older than the serialists such as Boulez and Stockhausen, arrived at Darmstadt in 1948 but kept his distance from any othodoxy, striving to integrate contemporary compositional methods while following his own independent, highly expressive musical language. In his liner notes, Michael Struck-Schloen offers a plausible biographical account for this approach: “Besides Church and Carnival, the formative influences on the young Bernd Alois Zimmermann also included National Socialism and the Second World War. At the age of twenty-one he was sent to Poland for war duty, and later to France and Russia. Even then he was severely beset by illnesses. Thereafter practically every work from his pen became a canto di speranza in which hope in a life worth living, in a steadfast faith capable of surmounting every spiritual crisis, was repeated like a mantra.
    [Show full text]
  • UC Berkeley UC Berkeley Electronic Theses and Dissertations
    UC Berkeley UC Berkeley Electronic Theses and Dissertations Title Opera after Stunde Null Permalink https://escholarship.org/uc/item/8qq8z2m7 Author Pollock, Emily Richmond Publication Date 2012 Peer reviewed|Thesis/dissertation eScholarship.org Powered by the California Digital Library University of California Opera after Stunde Null by Emily Richmond Pollock A dissertation submitted in partial satisfaction of the requirements for the degree of Doctor of Philosophy in Music in the Graduate Division of the University of California, Berkeley Committee in Charge: Professor Mary Ann Smart, Chair Professor Richard Taruskin Professor Martin Jay Fall 2012 © 2012 Emily Richmond Pollock All Rights Reserved 1 Abstract Opera after Stunde Null by Emily Richmond Pollock Doctor of Philosophy in Music University of California, Berkeley Professor Mary Ann Smart, Chair This dissertation discusses the musical, dramatic, and political implications of postwar German opera through the examination of four case studies: Boris Blacher’s Abstrakte Oper Nr. 1 (1953), Hans Werner Henze’s König Hirsch (1956), Carl Orff’s Oedipus der Tyrann (1959), and Bernd Alois Zimmermann’s Die Soldaten (1965). Both the composers’ musical decisions and the finished works’ critical and musicological reception demonstrate just how urgently the genre of opera was thought to be in crisis. Enabled by the myth of the “Stunde Null” or Zero Hour, many avant-garde composers shunned opera as artistically bankrupt and conservative, preferring instead genres that were less closely tied to the musical past. Opera’s coherence as a genre depended upon the maintenance and renewal of dramatic and musical conventions from eras both immediate and distant – a dependence that became politicized as the boundaries of “new music” were policed.
    [Show full text]