WEB PUBLICATIONS
in relation to:
THE ORCiM SEMINAR 'THE MUSICIAN AS LISTENER'
Harvey Sachs, Six Famous Ears:
Emanuel Ax, Alfred Brendel and András Schiff tell how they listen
Anyone who has had personal dealings with well known performing artists is aware of the fact that many of them have a lot to say, but that often what they have to say is not especially interesting. Or, to put it differently: whatever profundity they possess is expressed through their music-making, not through words. So when Peter Dejans, Joost Vanmaele, and Hubert Eiholzer invited me to participate in this project and suggested that I talk to three celebrated pianists about how they listen to music,...
Download this web publication
Alexander Moosbrugger, Vom Hören:
Rebecca Saunders im Gespräch mit Alexander Moosbrugger
Alexander Moosbrugger (AM): Es hängen Partiturseiten an der Wand. Du gehst vom Einzelnen aus. Werden hier Klänge untereinander - ein Weißabgleich des Hörens - je nach Farbtemperatur verrechnet?
Rebecca Saunders (RS): Was ist ein Weißabgleich? AM: Wenn die Kamera ein weißes Blatt Papier fokussiert, um daraus ableitend andere Farbtöne wahrnehmen, ...
Alexander Moosbrugger, Vom Hören:
Georg Friedrich Haas im Gespräch mit Alexander Moosbrugger
Georg Friedrich Haas (GFH): Ich fange, zur Frage des Hörens, mit einer Unterscheidung an: Geht es in Richtung Sprache hören oder Musik, Klang hören. Gerade was Sprache betrifft, hängt vieles davon ab, in welchem Alter das Gehör geschult wird. Ein deutliches Bespiel: Meine Frau ist aus Japan, nehmen wir den wohlbekannten Unterschied zwischen „r" und „l" - ich dachte zuerst, sie macht Witze wenn sie das verwechselt, sie spiele mit einem Cliché. Sie ist ausgebildete Musikerin und hört ...
in relation to
THE ORCiM STUDY DAY 'FROM ANALYSIS TO MUSIC'
Jan Michiels, "Lesen Sie nur Shakespeare's Sturm":
some cherished quotations, thoughts and afterthoughts from reading Arnold Schering and playing Ludwig van Beethoven
The German musicologist Arnold Schering (1877-1941) was entirely unknown to me until I read the booklet attached to the acclaimed recording of all Beethoven's symphonies by Nikolaus Harnoncourt conducting the Chamber Orchestra of Europe: "What seems important to me - and contemporaries shared this viewpoint - is the conviction that there are mostly sources of inspiration in the music of the great 18th and 19th century composers that ..."
Fulvio Delli Pizzi, Relationships between analytical and compositional work:
a process of descending from a musical idea to the sense of writing
A still deep-rooted opinion claims that writing (serious) music simply coincides with the logic of the treatment of aseptic sound materials. The more our musical thinking is logically plausible, explicable and coherent, the more our music will be endowed with recognizable value. So, particularly during the second part of the twentieth century, quite a few speciously scientific ways of composing music stressed the processes of manipulation to ...
Peter Swinnen, Composing the remembrance of an inspiration:
an algorithmic approach From the fifth movement of Beethoven's string quartet op.132 to Sinfonia 3 Erinnerung for (double) string quartet, ensemble and live electronics (2008)
This piece, commissioned by the Spectra Ensemble for their participation in the 'Gouden Vleugels Contest 2008' in tandem with the Bl!ndman[strings], is a tribute to Ludwig van Beethoven and Luciano Berio. It takes the fifth movement of Beethoven's string quartet no. 15 op. 132 and treats it as in Luciano Berio's Sinfonia. In other words: Beethoven (the past) tries to break through Berio (the present). It is as if you remember something without ...