E I N L A D U N G Musikwissenschaftliche Tagung AUSTAUSCHPROZESSE ZWISCHEN WEST UND OST IN DER EUROPÄISCHEN MUSIKKULTUR ANFANG DES 20. JAHRHUNDERTS Bulgarien ‐ Deutschland ‐ Litauen – Russland ‐ Österreich ‐ Ukraine Donnerstag, 25. Jänner 2018 HAUS HOFMANNSTHAL REISNERSTRASSE 37, 1030 WIEN TAGUNG, Beginn 10:00 Uhr KONZERT, Beginn 19:30 Uhr Die musikwissenschaftliche Tagung beinhaltet Vorträge zum Thema „Austauschprozesse zwischen West und Ost in der europäischen Musikkultur Anfang des 20. Jahrhunderts“, die von führenden MusikwissenschaftlerInnen bedeutender Musikuniversitäten und Akademien Bulgariens, Deutschlands, Litauens, Russlands, Österreichs und der Ukraine präsentiert werden. Die Veranstaltung markiert den Beginn einer Tagungsreihe, die jedes Jahr in einem anderen Land zu Gast sein und Austauschprozesse zwischen West und Ost bis in die Gegenwart beobachten und analysieren wird. Ausgehend von der Musik werden künftig auch andere Bereiche aus Kunst, Kultur und Wissenschaft mit Beiträgen zu diesem hochaktuellen Thema vertreten sein. Zur aktiven Teilnahme an den Diskussionen sowie dem öffentlichen Gespräch ab 17 Uhr sind alle Interessierten herzlich eingeladen. Das Konzert am Ende der Tagung rundet die Veranstaltung als lebendige Brücke zwischen Wissenschaft und Praxis ab. Wir freuen uns auf Ihr Kommen! Dr. Albena Naydenova, wissenschaftliche und künstlerische Leiterin Dipl.‐Ing. Sandra Löcker‐Herschkowitz und Katja Arzberger, Bakk. ‐ Agenda Wien Landstraße AGENDABÜRO LANDSTRASSE Neulinggasse 36, 1030 Wien Mo 10-16, Do 15-18 Uhr u.n.V. T [01] 718 08 35 W www.agendalandstrasse.at F [01] 89 54 891 11 E [email protected] 1 MUSIKWISSENSCHAFTLICHE TAGUNG Zwischen zwei Kulturen: Anmerkungen zur 10:00 Uhr Begrüßung Migration von Musikern aus Bulgarien – künstlerische Identität und 10:30 Uhr kulturelle Zugehörigkeit MODERNE TRIFFT TRADITION ALBENA NAYDENOVA (A) GRAŽINA DAUNORAVIČIENĖ (LTU) Das erste bulgarische Musiklexikon von Ivan Echoes of New Viennese school‐based ideas in Kamburov M. K. Čiurlionis (1875‐1911) musical creation als Informationsquelle für Austauschprozesse OLENA ZINKEVICH (UKR) zwischen Mahler's reception in Ukrainian symphonism Ost‐ und Westeuropa Anfang des 20. Jh.s. MARGARITA KATUNYAN (RUS) ANGELINA PETROVA (BG) Mussorgsky, Debussy, Strawinsky: Folklorismus und Moderne ‐ Austauschmodelle Kreuzung der Traditionen und DIETER KAUFMANN (A) Traditionsbrechung in der bulgarischen Musik Bemerkungen zu meinem Werk "Das der 1920er verfluchte Klavier" Jahre (Dimitar Nenov und sein Werk) nach der autobiographischen Prosa ANDA PALIEVA (BG) "Mutter und die Musik" von Marina Musikkontakte zwischen Österreich und Zwetajewa Bulgarien KATHARINA BLEIER (A) in Geschichte und Gegenwart "How my music should be played and sung" Leo Ornstein – russischer Virtuose und *** DISKUSSION – PAUSE *** Ultramodernist Öffentliches Gespräch ab 17:00 Uhr *** DISKUSSION – PAUSE *** 15:00 Uhr 19: 30 Uhr EIN LAND IM KULTURELLEN AUFSCHWUNG KONZERT BOJIDAR DOBREV (D) Leo Ornstein (1893 ‐ 2002) „Impression de Notre Dame“ op. 16/2 (1914) Dimitar Nenov (1901 ‐ 1953) Iva Hölzl‐Nikolova, Joanna Ruseva ‐ Violine, Sonate für Violine und Klavier (1921) Katharina Bleier/ Angelina Petrova – Klavier, Vier russische Volkslieder Vokalensemble Vokalensemble „Golubuschki“ "Golubuschki", Severin Neubauer ‐ Saxophon Dieter Kaufmann (*1941) Gunda König ‐ Lesung "mondieu mondial" op. 86 (2000) Hörspiel‐Komposition über 4 Artikel der Eintrittspreis 15,‐ €/ StudentInnen und Allgemeinen Vereinsmitglieder Erklärung der Menschenrechte des Hauses Hofmannsthal 12,‐ € Mitwirkende: AGENDABÜRO LANDSTRASSE Neulinggasse 36, 1030 Wien Mo 10-16, Do 15-18 Uhr u.n.V. T [01] 718 08 35 W www.agendalandstrasse.at F [01] 89 54 891 11 E [email protected] 2 Gražina Daunoravičienė: “Echoes of New Viennese school-based ideas in M. K. Čiurlionis’ (1875-1911) musical experiments and foresights” The barometric data on 20th-century musical composition clearly testifies that seismically active and dynamic areas undoubtedly outcompeted the stillness of stability. By the end of the first decade, the activity in the changeable, ‘explosive’ layer was stimulated by the critical level of fluctuations of major musical composition systems, which up to that point had surely served the process of composing of musical texts. This encompassed tonality, concentrated thematic content and its further development, the correlation between material and form (top-level structure), as well as many other elements. As a motto of Modernism Daniel Albright chose Ezra Pound’s favourite saying ‘make it new’, which Pound came across in the works of Confucius.1 It is the idea of Modernism, as though a flag of progressive art hoisted by radicals in different historical contexts that unites, shelters and legitimises very different types of Modernism of different periods or which co-exist in the same period of time. In the first decades of the 20th century, Fritz Heinrich Klein, Anton Webern and Béla Bartόk, Ferruccio Busoni, Igor Stravinski and Edgar Varèse, Alois Hába, Henry Cowell, Charles Ives, and other composers were these dissimilar heralds of New Music. All of them constitute a huge, integral, pluralistic picture of different cultures, assumptions, views, and contradictory individual types of Modernism, where all the dates have not been finally fixed, all the adventages have not been endowed, and new characters appear from time to time. In theoretical studies, the dates marking the start of modernisation of 20th century European music still fluctuate. A transitional period is deemed to have taken place from 1890 to 1910 and was distinguished by ideological and stylistic criticism of traditionalism (Hans Pfitzner’s compositions) and controverting musical scores by Gustav Mahler, Richard Strauss and C. Debussy that provoked key transformations (Carl Dahlhaus’ view)2. Richard Taruskin also distinguishes ‘early Modernism’ (1890–1914), which he describes as the ‘radical intensification of remaining intentions or traditions’ or maximalism3. When referring to a date of the start of Modernism in music, Albright builds on the creative work of Debussy and Strauss and claims that semantic specificity, comprehensiveness, expansions and destructions of tonality are the most important identifying characteristics of Modernism4. On the other hand, Modernism (a synonym for adjectives like ‘new’, ‘modern’, ‘advanced’) has not yet been an definitively delineated theoretical constant. According to Leon Botstein, it developed into a solid scientific concept only after it became a polemic and analytical category. 1 Daniel Albright. Albright, Daniel. Modernism and Music: An Anthology of Sources, University of Chicago Press, 2004, p. 8. 2 Carl Dahlhaus. Nineteenth-Century Music. [Die Musik des 19. Jahrhunderts. Neues Handbuch der Musikwissenschaft. Bd. 6, Wiesbaden: Akademische Verlaggeselschaft Athenaion], transl. by J. B. Robinson, Los Angeles, Berkeley: University of California Press, 1989, p. 334. 3 What Taruskin had in mind here was the radical intensification or maximalisation of Wagnerian trend (the ascending ability of maneuverability of “tonal navigation”) or the trend of motivic saturation in the music by Brahms and others. Richard Taruskin. The Oxford History of Western Music. The Early Twentieth Century, (Vol. 4), Oxford University Press, 2005, p. 46. 4 Albright, Daniel. Modernism and Music: An Anthology of Sources. Op. cit., pp. 6-7; 11-12. AGENDABÜRO LANDSTRASSE Neulinggasse 36, 1030 Wien Mo 10-16, Do 15-18 Uhr u.n.V. T [01] 718 08 35 W www.agendalandstrasse.at F [01] 89 54 891 11 E [email protected] 3 This article is based on an idea of cultural parataxis, which is now regarded as one of the modern aesthetic strategies when exploring arts, human experience, geoculture, etc. A term parataxis (from Greek parataxis for an ‘act of placing side by side’) is based on an idea of non-imperial modernism, that was developed in the works by Susan Stanford Friedman and others.5 Friedman emphasised the parallelism of imperial and peripheral Modernism, as well as pointed out the precedence of geo- modernism and post-colonial investigation of art history. The ‘reread’ texts of 20th century musical culture reveal a more complicated trans-cultural picture of formation and early development of musical Modernism. So the term parataxis defined a theory used when describing cultural texts, art works and their authors, which rejected the usual hierarchy of traditional stories of modernism. This radical postmodern discourse have changed the praxis of reading and interpreting cultural texts. One of the fundamental positions supported by the grand narratives of modernism was an opposition between the metropolitan hubs of modernism (the Second Viennese School) and the periphery, i. e. the rest of the world. As a rule, the hubs of modernism (the West) and their central figures were worshiped; local forms of modernism and its representatives (the Rest) were conceived, however, as second-class successors, imitators and plagiarists of the discoveries of imperial metropolies. This was musical modernity as seen by George Perle, Ernst Křenek, Hans Heinz Stuckenschmidt and others. To explain the content of the concepts „modernism“, „modernization“ and geo-cultural location of modernity in musicl composition, I will use Perry Anderson‘s description. Anderson understood modernism „as a cultural field of force triangulated by three decisive coordinates.“ These three coordinates include: 1) a „highly formalized academism in