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15.–18. 10. 2020 15.– 18.10.2020 Donaueschinger Musiktage 15.–18. 10. 2020 Schirmherr S. D. Heinrich Fürst zu Fürstenberg Veranstalter Gesellschaft der Musikfreunde Donaueschingen Donau- in Zusammenarbeit mit der Stadt Donaueschingen, dem Südwestrundfunk und dem SWR Experimentalstudio. eschin- Förderer Gefördert durch die Kulturstiftung des Bundes und das Land Baden-Württemberg. ger Musik- tage Inhaltsverzeichnis 6 Vorwort 56 4 124 7 KLANGKUNST Jason Yarde Thomas Lehn/ 182 Mike Cooper THE PROBLEM WITH HUMANS Marcus Schmickler 192 Jan Jelinek VERANSTALTUNGEn 1–10 Volume 1 – An Overview Neues Werk (Uraufführung) 198 Sergej Maingardt /Jens Standke From Under 208 Christian Skjødt 12 1 Matana Roberts 132 8 Podiumsdiskussion “Gasping for air considering Donaueschingen Lectures Geschichte(n) und Gegenwart your purpose Dissolving …” Holly Herndon RAHMENPROGRAMM vergrößern sich – Archive als Laure M. Hiendl Artificial Intelligence 218 Sonderveranstaltungen Kulturmaterial White RadianceTM – For voice, and 21st Century Music Wissen, lehren, speichern ensemble and electronics Tansy Davies 136 9 228 Interpreten 14 2 The rule is love Rebecca Saunders 282 Förderer und Unterstützer Paul Hindemith George Lewis to an utterance – study 283 Impressum Kammermusik Nr. 1 H. Narrans James Clarke 288 Spielplan und Lageplan Klaus Lang Piano Sonata No. 2 ionisches Licht 88 5 André Boucourechliev Cathy Milliken Akustische Spielformen Archipel 5D PIECE 43 FOR NOW Karl-Sczuka-Preis Rolf Riehm Oliver Schneller Frédéric Acquaviva Ciao, carissimo Claudio The New City. ANTIPODES for voices and oder Die Steel Drums Hommage à Lebbeus Woods dead electronics von San Marco Lula Romero displaced 98 6 160 10 Mica Levi Malte Giesen Carola Bauckholt BOUND stock footage piece 2: Implicit Knowledge Michael Wertmüller type beats Gerald Barry The Blade Dancer Artur Zagajewski No people. Danses Polonaises Peter Ablinger 48 3 Sasha J. Blondeau Concerto Wojtek Blecharz They Symphony No. 3 Nigel Osborne A Short History of Polish Philosophy 6 Vorwort 7 Verehrtes Publikum der Donaueschinger Musiktage, Uns war es wichtig, dass wir, ohne gesundheitliche Risiken einzugehen, Musik wieder live erlebbar machen. schon immer haben äußere Umstände Konzertprogramme beeinflusst. Sicherheitsbestimmungen regulieren den Konzertbetrieb. Oftmals Das Festivalprogramm setzt viele Diskussionen und Debatten fort, muss man nach Kompromissen suchen, um künstlerische Ideen um- die für die Neue Musik derzeit existenziell sind: die Frage nach zusetzen. Infolge der derzeit geltenden Hygiene-Vorschriften mussten Herkunft, Gender, Diversität und Inklusion, die Frage nach den ästhe- wir in diesem Jahr aber ein besonders strenges Reglement befolgen. tischen Implikationen technischer Innovationen wie die der künstli- Covid-19 macht es der Musik nicht leicht, ja man könnte sogar sagen, chen Intelligenz und der virtuellen Realität, die Frage nach neuen die Krankheit macht es der Musik besonders schwer. Chorgesang Konzertformaten und Präsentationsformen – die Frage nach der und große Orchesterbesetzungen lassen sich heuer auf der Bühne nicht Offenheit der Genres und den Übergängen der Neuen Musik zur Pop- umsetzen. Musiker, die sich im Raum bewegen? Fehlanzeige. musik, zur improvisierten Musik, – die Frage, wie ein seinem Ein Publikum, das sich auf engem Raum der Musik aussetzt? Undenkbar. Selbstverständnis nach immer nach vorne schauendes Festival mit Geschichte, der eigenen zumal, umgeht. An erster Stelle müssen wir den Künstler*innen danken, die ihre Konzepte fortwährend angepasst und umgestellt und sich auf die res- Über allem aber steht die Gesundheit aller Beteiligten, die der Mit- triktiven Bedingungen eingestellt haben, um ihre künstlerischen arbeiter*innen, der Künstler*innen und natürlich Ihre Gesundheit. Ideen umzusetzen. Es waren zum Teil schmerzhafte Entscheidungen, Wir haben alles getan, um uns an den vier Festivaltagen einen die getroffen werden mussten. Umso größer ist die Freude über ein möglichst unbeeinträchtigten Musikgenuss zu ermöglichen. Wir hoffen, doch vielseitiges Programm, in dem viele verschiedene Formate zur dass Sie ein an- und aufregendes Wochenende erleben. Geltung kommen – vom klassischen Orchester- und Ensemble- konzert des SWR Symphonieorchesters und des Ensemble Musik- fabrik über intime Kammer- und Klaviermusik beim Ensemble Björn Gottstein Ekkehard Ehlers Kwadrofonik und Nicolas Hodges, über die choreografierte Performance (Künstlerischer Leiter (Gastkurator) bei Elaine Mitchener und Dam Van Huynh bis hin zur Konzert- der Donaueschinger Musiktage) installation bei Wojtek Blecharz. Dann muss die Leistung der zahlreichen Mitarbeiter des Festivals her vorgehoben werden, die die besondere Herausforderung, die Hygiene-Konzepte vor Ort umzusetzen, mit großer Souveränität und Umsicht gemeistert haben. Von der komplizierten Sitzplatzregelung beim Kartenverkauf bis zu den Laufwegen von Musikern und Publikum musste in diesem Jahr viel Neues bedacht werden. Bei alledem stand der Wunsch, das Festivalwochenende unbedingt mit Livekonzerten vor Ort stattfinden zu lassen, im Mittelpunkt. Denn wenn sich in den vergangenen sechs Monaten eines lernen ließ, dann das: Der live im Saal erlebte Klang verfügt über eine eigene Aura, die durch kein Kon- zerterlebnis am Computer oder am Fernsehgerät zu ersetzen ist. Deutsch 8 Vorwort 9 Dear visitors of the Donaueschinger Musiktage, The festival programme continues many discussions and debates that are currently existential for New Music: the question of origin, External circumstances have always influenced concert programmes. gender, diversity and inclusion, the question of the aesthetic implica- Safety requirements regulate the operation of concerts. Often one tions of technical innovations such as artificial intelligence and virtual has to look for compromises in order to implement artistic ideas. reality, the question of new concert formats and forms of presenta- However, due to the current hygiene regulations, we had to follow tion – of the openness of genres and the transitions from New Music particularly strict rules this year. Covid-19 does not make it easy for to pop music, to improvised music. The question of how a festival music, one could even say that this illness makes it particularly that is always looking ahead deals with history, especially its own. difficult for music. Choral singing and large orchestras cannot be performed on stage this year. Musicians who move around in space? The most important thing, however, is the health of everyone involved: No chance. An audience that exposes itself to music in a confined space? the employees, the artists and of course your health. We have done Unthinkable. everything possible to ensure that we can enjoy music as undisturbed as possible during the four days of the festival. We hope that you will First and foremost, we must thank the artists who have continually experience an exciting and stimulating weekend. adapted and redesigned their concepts and adjusted to the restrictive conditions in order to implement their artistic ideas. Some of the decisions that had to be made were painful. All the more reason to be Björn Gottstein Ekkehard Ehlers pleased with a programme that is nevertheless varied and in which (Artistic Director of (Guest curator) many different formats are brought to bear – from the classical the Donaueschinger Musiktage) orchestral and ensemble concerts of the SWR Symphony Orchestra and the Ensemble Musikfabrik, to intimate chamber and piano music with the Ensemble Kwadrofonik and Nicolas Hodges, to choreo- graphed performances with Elaine Mitchener and Dam Van Huynh, to the concert installation of Wojtek Blecharz. Then the efforts of the festival’s numerous staff must be highlighted, who have mastered the special challenge of implementing the hygiene concepts on site with great aplomb and prudence. From the complicated seating arrangements for ticket sales to the walking routes of musicians and the audience, many new things had to be considered this year. In all of this, the desire to have the festival week- end with live concerts on site was central. Because if there is one thing that could be learned in the past six months, it is this: the sound experienced live in the hall has its own aura, which cannot be replaced by any concert experience on the computer or television. It was important to us to make music live again, without taking health risks. English Veranstaltungen 1–10 12 Konzert 5 13 Museum Art.Plus, 15.10.2020, 20 Uhr 1 Museum Art.Plus Podiumsdiskussion Donnerstag, 15.10.2020, 20 Uhr Geschichte(n) und Gegenwart vergrößern sich – Archive als Kulturmaterial Wissen, lehren, speichern Stefan Fricke, Moderation Podium mit Titus Engel (Dirigent) Markus Müller (Kurator) Iris ter Schiphorst (Komponistin) Marie-Claire Schneider (Archivarin) In Zusammenarbeit mit BR-Klassik und hr2-Kultur BR-Klassik live Sendung in SWR2, 17.10.2020, ca. 15.25 Uhr Sendung in hr2-kultur, 12.11.2020, 20.04 Uhr Introduction to the works 1 2 3 4 5 6 7 8 9 10 14 15 Baar-Sporthalle, Freitag, 16.10.2020 18 Uhr (2a) + 21 Uhr (2b) 2 Baar-Sporthalle Cathy Milliken Freitag, 16.10.2020 18 Uhr (2a) und 21 Uhr (2b) PIECE 43 FOR NOW für Orchester (2020) Uraufführung, 8 Min., Kompositionsauftrag des SWR SWR Symphonieorchester Titus Engel, Dirigent Oliver Schneller The New City. Hommage à Lebbeus Woods für Orchester und Elektronik (2020) Uraufführung, 8 Min., Kompositionsauftrag des SWR Lula Romero SWR2 und SWRClassic.de live displaced für Kammerorchester (2020) Uraufführung, 7 Min., Kompositionsauftrag des SWR Paul
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