CORIUN AHARONIAN PDF

It is not necessary to go over the history of the ISCM since its creation, to state firmly that an ISCM festival, every one of its World Music Days, must be, at the same time, the possibility for a regular observation of creative trends in art music throughout the world; a wager to quality, both in composition and in performance; an opportunity for composers to meet, to compare their experiences and to exchange them; a risky approach to necessarily renewed points of view, to discussions about which can be considered, at every moment, the establishment, to serious innovations in language, to openings of the eurocentric standards. A first problem is that we are dealing with Western European categories, and that the point of departure is, inevitably, Western European music history. Music is itself, as separate shelf, a European concept. And the duality of art music as a parallel language to popular music, with their different codes, is also a European concept. Even the evolutionist career is fundamentally a Western European illness. So, when we are organising a festival of contemporary art music, or just making contemporary art music, we are taking these unavoidable characteristics as a point of departure.

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It is not necessary to go over the history of the ISCM since its creation, to state firmly that an ISCM festival, every one of its World Music Days, must be, at the same time, the possibility for a regular observation of creative trends in art music throughout the world; a wager to quality, both in composition and in performance; an opportunity for composers to meet, to compare their experiences and to exchange them; a risky approach to necessarily renewed points of view, to discussions about which can be considered, at every moment, the establishment, to serious innovations in language, to openings of the eurocentric standards.

A first problem is that we are dealing with Western European categories, and that the point of departure is, inevitably, Western European music history. Music is itself, as separate shelf, a European concept. And the duality of art music as a parallel language to popular music, with their different codes, is also a European concept. Even the evolutionist career is fundamentally a Western European illness. So, when we are organising a festival of contemporary art music, or just making contemporary art music, we are taking these unavoidable characteristics as a point of departure.

It is not an accident that the more colonised a country has been, the deeper are its roots in the field of an art music of its own, and that the oldest colonised countries have more possibilities of having found their own paths within the present-day creation of art music. When people in charge of organising an ISCM event feel themselves free to make a capricious programme-planning which reflects their own and personal obsessions, something is wrong in their attitude, and, fundamentally, in their real relation with the spirit from which the ISCM was born.

An ISCM festival cannot be a matter of show-business. If something must be sacrificed, it is the predominance of purposes or goals of massive response. There is nothing negative in becoming elitist. Strictly speaking, every cultural activity is elitist, because it belongs to a more or less closed circle of people initiated in its language and its codes. Some elites can be or can become larger or smaller, but this cannot be a metre to measure their social importance.

Even in popular music, a mega-show in a stadium is not at all more important than a normal recital in a small hall. These considerations were evidently not clear to the organisers of the World Music Days in Essen in june-july They had many misunderstandings in their mind: the supposition that the quantity of performers and of audience has something to do with quality; the total lack of respect to the persons involved in the previous international selection of pieces to be performed - the composers, the community to which they belong, and also the members of the specially summoned jury; the necessity of keeping the World Music Days as a meeting-point for creativity and for true internationalism or, at least, true anti-eurocentrism ; the transformation of an event, that could be attacked in any case as a meeting of friends interested in what happens everywhere in the world, into a meeting of colleagues involved in some particular Western European trends and belonging to some particular options in their private life.

The poster of the festival was itself a gay manifesto. This could be courageous and positive, but not in the ambitus of the ISCM, an institution that has always tried to respect the right to gender of every composer but has never decided to become an international gay guild. So, nobody has the right to use it for this purpose. The international jury never received the complete list of compositions entered for selection a list that, even more, did not exist when the jury arrived to do its work , the declaration in this sense of the jury was never officially published and it does not appear in the booklet of the festival in spite of the fact that their names were invoked and used as a validation of the whole programme, and a great part of the compositions chosen was not included in the concerts.

In addition, a joke was established, to put in the concerts a piece of the same composer which was not the one chosen by the jury and the jury had been selecting particular compositions, not just names of composers , or even to present under the same name a different composition which was not precisely that one seen and judged by the jury. But the possible good intentions - for instance, some homages to great, recognised names, or the possibility of giving a kind of world compositional landscape - were hidden by lots of junk.

As the Ruhr area was a survivor of a glorious industrial big development related with coal and iron, many concerts were suffered in dirty and non-musical spaces, very interesting for other purposes but not because of their acoustics and their elementary comfort for listening new music.

For people from the actual Third World it looks extremely ridiculous in a First World rich and powerful country, to expressly exclude or replace good listening places just for fun, or for aesthetic fancy, or for cheap snobbism. A fundamental point must be reminded here: nobody has the right to use the International Society for Contemporary Music as a screen for personal projects that are not suitable or adequate for its purposes. Nobody is obliged either to fill in the requisites of the old international organisation if he or she feels that they are not suitable or adequate to his or her own interests.

But once the permission has been asked to the ISCM for the building up of one or another World Music Days, it is obvious that both sides are obliged to accomplish the written rules and - especially - the spirit of those rules. This is a very central point, because after the Essen deviation, others can feel themselves free to do whatever they want, in spite of all what has been agreed - and this seems to be already the situation in Copenhagen Gerhard St.

But he was not alone, of course. The delegates of the different ISCM member countries had no opportunity to recognise any other visible head. Perhaps St. In any case, he refused, with an angry look on his face, all critics in the General Assembly of the ISCM, and left the place in a temper. He could have done everything alone, or together with his friends. Something must be cleared up once and for all: he did not have the right to make use of either the name or the prestige of the ISCM to obtain support and finances.

It is clear that all these difficulties were not an unavoidable conditioning of the host country: very few years before, in , Germany at that time, the Federal Republic, without yet the annexation of the GDR had shown with the visible head of Klaus Hinrich Stahmer, together with Solf Schaefer, Karsten Witt and Andreas M"lich-Zebhauser its capacity of organising an extraordinary and memorable festival also in several cities , with an enormous audience, but with practically no concessions.

Like Austria in , for instance, with the visible head of the late Wilhelm Zobl. No one of these names was using the ISCM fa! In Essen, disregarding any common sense, orchestra concerts were considered the first rate activities, according to the layout of the programme book.

There is no serious possibility of sustaining such an absurd presentation of facts. In addition, the major part of the orchestra concerts were tricky, full of "old" and "very old" compositions included with the apparent intention to attract multitudes what for?

Let us now point out some of the many remarkable aspects of the Essen World Music days The costs were estimated in a couple of million dollars. Instead of the other 7 symphonic works, 6 chamber music works by these composers were performed, and 1 composer was thrown out!

Out of 5 electronic works, only 3 were done! Out of 16 chamber music works only 6 were performed. From 8 works for chamber orchestra, 5 were performed, 3 were thrown out! This was quite a shame. But the fact that this festival presented in 8 symphonic concerts: 32 composers of 45 works, in 17 chamber concerts: 78 composers of 81 works, and in 6 electronic concerts: 31 composers of 31 works, doubled the numbers from the former festival and left a very impressive feeling!

We can also expect to be reminded of the existence of representatives of more ancient generations, whose music changed a former style! This year the portrait was good enough. Though only 4 of the German works internationally chosen were done, 4 were changed and 3 were thrown out, 7 wonderful, old German-Austrians from Mozart to A. Berg were added, and 14 contemporary composers including the famous M. Kagel and H. Henze, but missing important ones like K.

Stockhausen, H. Lachenman, W. As not all the composers received detailed coverage in the program book, maybe there were even more Germans. Almost parallel to the subject of international composers should also be that of international performers, whose rules must be - a works from their country, b works from the host country and c works from other countries.

This year, after the Essen committee threw out some of the internationally-chosen works and members, they added 10 members 24 ISCM members were presented! Each composer chosen must have in it a concise biography on music and career developments, point of view, date and place of birth death and citizenship.

Performers of all kinds must also be provided with biographies. To attract new audiences, some street and park concerts should also be produced, as well as concerts in all types of museums.

Full concerts of improvisations and even just as parts of normal concerts might also attract new audiences! Nakamura, A. Wolman, V. Globokar, etc. And because there is proof that young students naturally understand the music of their own generation the Cologne Hochschule was a good example in the ISCM festival , they should be asked to perform music by their friends and teachers!

Though I am sure that there are many more modern German soloists, ensembles and orchestras than the ca. But they still played very well with new instruments! Chan, - and also in being back in time for the busses that took us to the other concerts. The fact that the bus drivers did not study enough the best ways to the different concert places, and that the timetable of the busses, which did not really need a long time to bring us to the afternoon concerts, increased the problems at lunchtime like taking a short, necessary rest before the long, positive Music Day.

Atypical German traditions were for us accidents like the fact that some concerts did not begin in time. In some concerts the order of the works was changed, and some were not performed.

Simaku was performed on tape instead of by young musicians from a school and institute Folkwang Hochschule that presented a serious and a promising, futuristic part in the festival! Good and in almost complete contrast to the former technical details, were the technically great successes with extremely complicated and unusual use of spaces, lights, acoustics in the six out of eight very long symphonic concerts, and also in quite a few of the chamber concerts, which were performed, generally, on a high level.

These concerts attracted quite a lot of adult and young listeners - 12,? Cowell, Ch. Ives, E. Varese, Luigi Nono, etc. This first stage of development seemed quite earnest and successful.

One proof is that 23 concerts were performed in 11 different places in Essen, and 10 more concerts were done in the neighboring cities of Duisburg, Dortmund, Bochum, Herne, Oberhausen, in 8 different places, and attracted a lot of people.

The fact that many of these places factory buildings, some of which compete with the beauty of churches and have very special acoustics were not traditional concert halls, probably helped to attract anew type of listener to go to these contemporary music concerts, thus fulfilling a major ISCM aim!

Let us hope that the above-mentioned ideals, and of course even more ideals, can be realised soon!!! Upcoming Dates.

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They had many misunderstandings in their mind:. Henze, but missing important ones like K. They had many ahaeonian in their mind: For people from the actual Third World it looks extremely ridiculous in a First World rich and powerful country, to expressly exclude or replace good listening places just for fun, or for aesthetic fancy, or for cheap snobbism. In any case, he refused, with an angry look on his face, all critics in the General Assembly of the ISCM, and left the place in a temper. Music is itself, as separate shelf, a European concept. The delegates of the different ISCM member countries had doriun opportunity to recognise any other visible head. Learn more information here: Nobody is obliged either to fill in the requisites of the old international organisation if he or she feels that they are not suitable or adequate to his or her own interests.

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