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100.Geburtstag AUSGABE 1. 2018 100. GEBURTSTAG VON MIECZYSŁAW WEINBERG UND GALINA USTWOLSKAJA EDISON DENISSOW ALFRED SCHNITTKE AWET TERTERJAN INHALT / CONTENT Liebe Leserinnen, 03 / 27 liebe Leser, Edison Denissow 90. Geburtstag wahre Klassiker der Moderne sind die Hauptthemen unseres Magazins mit Geburts- und Gedenktagen 09 / 31 des Jahres 2019 und einer kleinen Vorschau auf Galina Ustwolskaja 2020. Farbig und schillernd sind die Klangwelten des 100. Geburtstag Russen Edison Denissow, der neben Alfred Schnittke 13/ 34 und Sofia Gubaidulina die Generation der Ära nach Mieczysław Weinberg Schostakowitsch in Russland markierte. Wir widmen 100. Geburtstag ihm ein ausführliches Porträt mit vielen interessan- ten Werkbesprechungen. 18/ 37 Alfred Schnittke 2019 gedenken wir Denissows 90. Geburtstags und zum 85. Geburtstag auch der 100. Geburtstage von Mieczysław Wein- 20 / 38 berg sowie der Petersburger Komponistin Galina Awet Terterjan Ustwolskaja, die beide mit Schostakowistch eine 25. Todestag enge Beziehung hatten. Weinbergs Opern stehen im Zentrum seines Schaffens. Ustwolskaja hingegen 23 / 40 gilt als vielleicht radikalste Avantgardistin Russlands News in der zweiten Hälfte des 20. Jahrhunderts. 24 Geburts- und Schließlich gibt es Beiträge zu Alfred Schnittke, Gedenktage 2019 jenem großen Klangpoeten Russlands und Schöpfers sogenannter polystilistischer Musik, sowie Awet 26 Terterjan, dessen Oper „Das Beben“ ein nachhaltiger Vorschau 2020 Erfolg war. Wir wünschen Ihnen eine spannende Lektüre und einen guten Start ins neue Jahr 2018, Dagmar Sikorski Dr. Axel Sikorski IMPRESSUM REDAKTION Helmut Peters Quartalsmagazin der GESTALTUNG Joachim J. Kühmstedt, j4 -studio.com SIKORSKI MUSIKVERLAGE erscheint mind. 4x im Jahr kostenfrei FOTONACHWEISE Titelcollage © Joachim Kühmstedt Seite 5/6 Der Schaum der Tage, Oper Stuttgart © A.T. Schaefer Seite 8 Collage © Joachim Kühmstedt Seite 8/31 Galina Ustwolskaja © Viktor Sudlin Seite 13 Mieczysław Weinberg © Olga Rakhalskaya Seite 15 „Der Idiot“, Oper von Mieczysław Weinberg, Nationaltheater Mannheim © Hans Jörg Michel Seite 16 „Das Portrait“, Oper von Mieczysław Weinberg, VERLAG Bregenzer Festspiele © Karl Forster Seite 17/36 „Wir Gratulieren“, Oper von Mieczysław Weinberg, Internationale Musikverlage Theater Heidelberg © Annemone Taake Seite 19 „Leben mit einem Idioten“, Oper von Alfred Schnittke, Hans Sikorski GmbH & Co. KG Stadttheater Gießen © Rolf Wegst Seite 22 „Das Beben“, Oper von Awet Terterjan, Theater am Gärtnerplatz Johnsallee 23 München © Jan Adamiak Seite 23/40 Emanuel Pahud © wikipedia; Claus-Steffen Mahnkopf © Gabriel Brand 20148 Hamburg Alle anderen Bilder © Archiv Sikorski T +49 40 41 41 00-0 F +49 40 41 41 00-60 HINWEIS Wo möglich haben wir die Inhaber aller Urheberrechte der Fotos/Illustrationen ausfindig gemacht. www.sikorski.de Sollte dies im Einzelfall nicht ausreichend gelungen oder es zu Fehlern gekommen sein, bitten wir die Urheber, [email protected] sich bei uns zu melden, damit wir berechtigten Forderungen umgehend nachkommen können. 2 SIKORSKI MAGAZIN 01.2018 EDISON DENISSOW Impressionismus und Avantgarde Edison Denissow zum 90. Geburtstag Der russische, am 24. November 1996 gestorbene existieren und keiner quantitativen Behandlung zu- Komponist Edison Denissow gilt von jeher als ge- gänglich sind, weitgehend zu transformieren. Gerade schickter Mittler zwischen Sinnlichkeit und experi- hier verbirgt sich einer der wesentlichen Merkmale menteller Klangästhetik. Am 6. April 2019 gedenken des französischen Impressionismus, den H. Weber wir seines 90. Geburtstags. (Lexikon der Musik, hrsg. von Marc Honegger und Günther Massenkeil. – Herder, Freiburg, Basel, Wien. Die Behauptung, der französische Impressionismus – 1976, Band 4, S. 158) wie folgt definiert: „Als Stil- sei bis zum heutigen Tage keineswegs eine historische, merkmale des musikalischen Impressionismus gelten sondern eine bis dato noch nicht überwundene oder statische, afunktionale Harmonik, in ornamentalen ersetzte Ausprägung der Musik des ausgehenden Motiven kreisende Thematik und eine in raffinierten 19. Jahrhunderts, ist nicht vermessen. Bei genauer Klangmischungen schwelgende Instrumentation, an Betrachtung beruhen die Grundphilosophien der zeit- die sich vor allem die Analogiebildung zur Malerei genössischen Musik u.a. auf der Emanzipation des Ge- heftet. ... Nach dem 2. Weltkrieg haben Komponisten räuschhaften, auf den Errungenschaften der Zweiten wie Pierre Boulez und Karlheinz Stockhausen an Wiener Schule und den daraus resultierenden seriel- Debussys Musik neue Formprinzipien entdeckt, die len Techniken sowie dem (bisher bis in letzter Konse- ihre Unterordnung unter den Begriff eines musikali- quenz vergeblichen) Versuch, traditionelle instrumen- schen Impressionismus vollends problematisch er- tale Klangfarben, die als Qualitäten nebeneinander scheinen lässt.“ 2 3 SIKORSKI MAGAZIN 01.2018 SIKORSKI MAGAZIN 01.2018 EDISON DENISSOW Karlheinz Stockhausen zog aus der Unmöglichkeit, in der Kunst, und momentan sind einige Kompo- instrumentale Klangfarben im Sinne eines streng nisten auf der Suche nach einer neuen Schönheit. interpretierten Impressionismus zu transformieren, Gemeint ist jedoch nicht nur der schöne Klang, der ihre Eigencharaktere aufzulösen, zu ersetzen und ‚Wohlklang’, der natürlich nicht äußerlich betrachtet neu zu definieren, den Schluss, neue Kompositions- werden darf, sondern eine Schönheit im Sinne einer mittel wie die elektronisch erzeugten Klänge heran- ästhetisch guten Idee, die man ebenso auf Mathe- zuziehen. Die Musik der Gegenwart (seit 1965), die matik oder auf Bachsche Konstruktionsprinzipien noch mit traditionellem (Orchester-)Instrumentarium beziehen kann.“ (Yuri Kholopov / Valeria Tsenova: arbeitet, verdichtet hingegen zunehmend das Parti- Edison Denisov. – Harwood Academic Publishers, turgewebe derart, dass Cluster von nicht mehr durch- 1995. – ISBN 3-7186-5425-3; S. 35) hörbarer Dichte die Grenze zwischen musikalischer Struktur und rein klanglicher Erscheinung mehr und Denissow befreit sich von äußerlichen Zwängen, mehr verwischen lassen. Komponisten, die in dieser wie sie jede Kompositionsmethode, vor allem die Richtung arbeiten, sind auch oder vor allem avant- Strenge der Zwölftontechnik, vorschreibt. Das ton- gardistische Impressionisten auf der Suche nach malerische Element, das Spiel mit Kontrasten und einer neuen Klangästhetik, die die Errungenschaften Mischungen steht im Zentrum seines Interesses. der seriellen Musik zwar subsumiert, sie aber zu Diese Vorgehensweise rückt ihn vor dem Hinter- einer eindrücklichen, unabhängig von einem mathe- grund der eingangs beschriebenen und musikalisch matischen Strukturdenken erfahrbaren Klangsinn- adaptierten Merkmale des Impressionismus in die lichkeit umdeutet. Nicht umsonst engagierten sich Nähe der Malerei, aus der der Begriff des Impressio- zahlreiche Gegenwartskomponisten wie die Finnin nismus ja entlehnt ist. Denissows Werk „Peinture” Kaija Saariaho und der russische Avantgardist Edison trägt in konzentrierter Form jene typischen Züge Denissow neben ihren traditionell instrumentierten einer orchestralen Technik, die viele seiner Werke Werken stark im elektronischen Sektor. Beide haben charakterisieren. In „Aquarelle” löst Denissow die viele Male am französischen IRCAM-Institut experi- Idee der bildlichen Kontur dahingehend auf, dass mentiert, Auftragskompositionen verfertigt und die sich das zarte Timbre der Streichergruppen in Solo- Erfahrungen in ihr kompositorisches Œuvre einflie- passagen verliert. Viele Werktitel verweisen bei ßen lassen. Bei Denissow manifestieren sich diese Denissow auf die Malerei. Nicht umsonst ist eines Ausprägungen eines avantgardistischen Impressio- der Hauptunterschiede zwischen Musik und Ma- nismus in nach traditionellen Schemata strukturier- lerei das zeitlich Vergängliche einerseits und das ten ästhetischen Klangkompositionen mit komple- dauerhaft Fixierte andererseits. Das musikalisch xen, aber nachvollziehbaren Sinneinheiten. Die oben Erlebte wird zur Momentaufnahme, die Darstellende erwähnten Merkmale wie die reiche Ornamentik Kunst wird zur Einmaligkeit verdammt. Als Schnitt- und die statische, afunktionale Harmonik, vor allem stelle zwischen diesen künstlerischen Problem- aber die raffinierte Instrumentationstechnik sind in stellungen unterschiedlicher Prägung dient die vielen seiner Kompositionen belegbar und führen zu Einbeziehung der Elektronik, die es ermöglicht, das einer ungemein ausdrucksstarken, farbenreichen musikalische Ereignis zu konservieren, es abrufbereit Musiksprache, die in der Neuen-Musik-Szene ihres- und irreversibel festzulegen. gleichen sucht. Einige Beispiele mögen diesen avantgardistischen, klangästhetischen Impressio- Edison Denissow wurde einmal gefragt, ob für ihn nismus Denissows veranschaulichen. die mathematische Ausbildung bei seiner Arbeit als Komponist fördernd oder hinderlich war. Seine Ant- Edison Denissow, der seinem ersten Studium nach wort war eindeutig: „Sie hilft“. Trotzdem ist es nach- eigentlich Mathematiker war und in der ehemaligen weislich nicht die Mathematik, die einen profunden Sowjetunion als einer der revolutionärsten Neue- Einfluss auf seine Arbeit ausgeübt hat, sondern die rer der Szene galt, indem er sich zu den westlichen Malerei. Denissow sagt, dass seine musikalischen Einflüssen bekannte, die Zwölftontechnik adaptierte Lehrer die Maler waren. „Die Gesetze der Musik und und modifizierte, war keineswegs ein ausschließlich der Malerei sind identisch. Malen bedeutet das Auf- in strukturellen Kategorien denkender Komponist. zeigen einer
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