Grand Auditorium - Philharmonie Luxembourg
Grand Auditorium - Philharmonie Luxembourg
Grand Auditorium - Philharmonie Luxembourg
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Journée portes ouvertes /<br />
Tag der offenen Tür<br />
«The Big John Cage Extravaganza»<br />
& «Toy Piano World Summit»<br />
Dimanche / Sonntag / Sunday<br />
02.12.2012 15:00–22:00<br />
<strong>Philharmonie</strong><br />
Vous trouverez pages suivantes tous les événements, présentés par salle et<br />
par ordre chronologique. / Alle Veranstaltungen finden Sie auf den folgenden<br />
Seiten jeweils pro Saal in chronologischer Reihenfolge aufgelistet.<br />
<strong>Grand</strong> Foyer 112–120<br />
<strong>Grand</strong> <strong>Auditorium</strong> 121–132<br />
Salle de Musique de Chambre 133–142<br />
Espace Découverte 143–153<br />
Salle de répétition I 154–159<br />
Autres lieux / Sonstige Orte 160–161<br />
IIIIIIIIIIIIIIIIIIIIIIIIIIIIIIIIIIIIIIIIIIIIIIIIIIIIIIIIIIIIIIIIIIIIIIIIIIIIIIIIIIIIIIIIIIIIIIIIIIIIIIIIIIIIIIIIIIIIIIIIII<br />
Les concerts, présentations d’ateliers, etc. du «Toy Piano World Summit»<br />
sont indiqués en bleu. / Die Konzerte, Workshop-Präsentationen etc. des<br />
«Toy Piano World Summit» sind jeweils in blauer Farbe gekennzeichnet.<br />
IIIIIIIIIIIIIIIIIIIIIIIIIIIIIIIIIIIIIIIIIIIIIIIIIIIIIIIIIIIIIIIIIIIIIIIIIIIIIIIIIIIIIIIIIIIIIIIIIIIIIIIIIIIIIIIIIIIIIIIIII<br />
Les concerts, performances, installations, etc. de la «Big John Cage<br />
Extravaganza» sont indiqués en violet. / Die Konzerte, Performances,<br />
Installationen etc. der «Big John Cage Extravaganza» sind in violetter<br />
Farbe gekennzeichnet.<br />
IIIIIIIIIIIIIIIIIIIIIIIIIIIIIIIIIIIIIIIIIIIIIIIIIIIIIIIIIIIIIIIIIIIIIIIIIIIIIIIIIIIIIIIIIIIIIIIIIIIIIIIIIIIIIIIIIIIIIIIIII<br />
Tous les ateliers, performances, installations, etc, indiqués en orange sont<br />
accessibles en continu. Pour les autres événements, l’accès a lieu peu<br />
avant l’heure de début indiquée. / Alle in oranger Farbe gekennzeichneten<br />
Performances, Workshops, Installationen etc. sind jederzeit zugänglich. Bei<br />
den anderen Veranstaltungen ist Einlass jeweils kurz vor der angegebenen<br />
Beginnzeit.<br />
IIIIIIIIIIIIIIIIIIIIIIIIIIIIIIIIIIIIIIIIIIIIIIIIIIIIIIIIIIIIIIIIIIIIIIIIIIIIIIIIIIIIIIIIIIIIIIIIIIIIIIIIIIIIIIIIIIIIIIIIII<br />
Abréviations / Abkürzungen<br />
DIY pour participer / zum Mitmachen / do it yourself<br />
(7–100) pour tous les âges / für alle Altersgruppen / for all ages<br />
(18–XXX) à partir de 18 ans / ab 18 / explicit lyrics<br />
UA création / Uraufführung / world premiere<br />
* Œuvres sélectionnées par le jury de Call for scores pour le<br />
«Toy Piano World Summit» / Juryauswahl der Werke des Call for scores für<br />
den «Toy Piano World Summit»<br />
Page de gauche / Linke Seite:<br />
John Cage<br />
playing toy piano (1961)<br />
Photographer: Ben Martin /<br />
TIME & LIFE Images<br />
© Getty Images<br />
111
112<br />
<strong>Grand</strong> Foyer<br />
15:00–22:00<br />
IIIIIIIIIIIIIIIIIIIIIIIIIIIIIIIIIIIIIIIIIIIIIIIIIIIIIIIIIIIIIIIIIIIII TOY PIANO EXHIBITION (7–100)<br />
15:00–22:00 <strong>Grand</strong> Foyer<br />
Toy Piano Exhibition at the Toy Piano World Summit<br />
The toy pianos presented in the <strong>Philharmonie</strong>’s <strong>Grand</strong> Foyer are part of the<br />
collection of Paweł Romańczuk from Wroclaw, Poland. The instrument collection<br />
started with his idée fixe about «small instruments»: he is the founder and leader<br />
of the band and artist group «Małe Instrumenty» (Small Instruments) which<br />
explores new sounds using a wide array of small instruments. He is also the author<br />
of what is probably the first book ever about the history of the toy piano. His<br />
growing collection counts at the moment over 180 different toy pianos from the<br />
USA, Germany, Brazil, France, Czechoslovakia, USSR, Poland, Spain, Bulgaria,<br />
Japan, United Kingdom and other countries, as well as archival photos, press<br />
clippings, posters, CDs and toy piano memorabilia. Paweł Romańczuk is planning<br />
to run a specialised Toy Piano Gallery in order to popularise toy piano culture.<br />
The presentation of this collection during the Toy Piano World Summit has been made possible by the support of the<br />
Adam Mickiewicz Institute, Warsaw.<br />
..........................................................................................................................<br />
A Very Short History of the Toy Piano<br />
The story of toy piano begins at end of the 19 th century, when the Schoenhut family<br />
started to produce toy pianos in Germany. The source of sound in these toys was<br />
glass plates hit by wooden hammers. When shipped to the USA, the glass often<br />
got damaged during transportation, and the Schoenhut family decided to commission<br />
the young Albert Schoenhut to repair the toy pianos in the USA. In 1872, Albert<br />
started his own brand, the Schoenhut Piano Company in the USA, using metal<br />
plates instead of glass. The metal plates were quite similar to those used in modern<br />
glockenspiels. Their range varied from 4 to 37 keys (three octaves). The first instru-<br />
ments were diatonic, with black «keys» painted on the wooden white keys. Some<br />
of the other makes and models of toy pianos produced before World War II origi-<br />
nate in Spain and France. Some of them were based on a different way of producing<br />
sound, using strings instead of plates, more like zithers with a hammer system.<br />
In the 1930s, the first chromatic toy pianos appeared, and – what’s even more<br />
important – the source of sound was changed to metal rods, set together in one<br />
metal frame. The sound is rather different due to the fact that the vibration of<br />
each rod is transmitted to the others, generating many uncontrolled sympathetic<br />
tones. In America, toy pianos with rods continued to be produced by Schoenhut<br />
and other brands like Jaymar and <strong>Grand</strong> Pianos. The most important brand in<br />
Europe at the time was Michelsonne, produced since 1939 by Victor Michel in<br />
France, famous for its high quality, deep sound and precise mechanics. However,<br />
the story of Michelsonne was cut short in 1970 by a fire that destroyed the factory.<br />
After World War II, toy pianos were made in Italy (Bontempi), Germany (Goldon,<br />
Hohner), France (Michelsonne, Pianocolor, Opera) Spain (Reig), Japan (Kawai),<br />
USSR and Poland, although these instruments were sometimes of a very basic<br />
quality. Schoenhut in Florida, founded 140 years ago, is still producing a large<br />
offer of different toy pianos.<br />
The toy piano is a truly multifaceted object. It varies greatly in size, shape, design,<br />
colour, material, construction and sound. It is still a toy (and never was intended<br />
to be produced as a professional instrument, although many professional composers<br />
and performers work with it today). But ever since John Cage wrote his Suite for<br />
Toy Piano in 1948, it is being used in concert as a fascinating musical instrument.<br />
(Paweł Romańczuk)<br />
..........................................................................................................................<br />
The first Toy Piano World Summit on December 2, 2012 is part of the «rainy days» festival at <strong>Philharmonie</strong> <strong>Luxembourg</strong>.<br />
We would like to thank the Schoenhut Piano Company (www.toypiano.com) for their cooperation.
<strong>Grand</strong> Foyer<br />
15:00–15:30<br />
IIIIIIIIIIIIIIIIIIIIIIIIIIIIIIIIIIIIIIIIIIIIIIIIIIIIIIIIIIIIIIII CONCERT PERFORMANCE (7–100)<br />
15:00 <strong>Grand</strong> Foyer<br />
Orchestre d’Harmonie des Jeunes de l’UGDA<br />
James Clarke: 2012‑L for woodwind and brass orchestra<br />
(2012, commande / Kompositionsauftrag <strong>Philharmonie</strong> <strong>Luxembourg</strong>,<br />
création / Uraufführung) – 30’<br />
..........................................................................................................................<br />
2012‑L has been commissioned by the <strong>Philharmonie</strong> <strong>Luxembourg</strong> and is written<br />
for a large orchestra of woodwind and brass instruments, positioned in the<br />
building’s foyer. The intention is that the audience should move about during<br />
the performance, preferably with a glass of wine (or beer), hearing the various<br />
musical events from different perspectives. These events range from still, quiet<br />
sounds to dense chords (such as one might enjoy in a southern Italian traffic jam);<br />
they range from single notes travelling through the space to huge sound textures<br />
sparkling from everywhere in the hall. The work lasts 30 minutes. (James Clarke)<br />
Orchestre à vent de l’École de Musique de l’UGDA<br />
Flûtes<br />
Adriana Adrovic<br />
Tessy Altmann<br />
Claire Arens<br />
Miriam Arnold*<br />
Julien Bast<br />
Anne Börgmann*<br />
Céline Bret<br />
Jessica Calcada Castilla<br />
Nathalie Da Costa Faria<br />
Lena Da Nazaré<br />
Madeleine Debes<br />
Eimear De Burca<br />
Elisabetta Diehl<br />
Astrid Drechsler<br />
Claudia Duarte<br />
Sally Eiffes<br />
Anastassia Eletskaïa*<br />
Laura Everad<br />
Lea Franck<br />
Robine Gillen<br />
Marion Gonner<br />
Kim Gubbini<br />
Lina Hedo<br />
Julia Jeblick<br />
Anna Kampisne Ambrusz*<br />
Anne Karier<br />
Isabelle Kayser*<br />
Eszter Keresztesi<br />
Lena Kimmes<br />
Julie Kinnen<br />
Anne Kruchten<br />
Lauréanne Kurt<br />
Delphine Lambert<br />
Joanne Lindé<br />
Lena Linden<br />
Claire List<br />
Vanessa Lombardi<br />
Aline Majerus<br />
Linda Manderscheid<br />
Nathalie Michel*<br />
Sally Milbert<br />
Maria Miteva*<br />
Lea Molitor<br />
Lea Muller<br />
Joëlle Nieuwenhuis<br />
Ana Olinger<br />
Natalja Orlova<br />
Charlotte Pahle<br />
Anne-Mie Poullig<br />
Hannah Prettenhoffer<br />
Carole Raus*<br />
Sabrina Rodrigues<br />
Martine Roster*<br />
Stefano Sabbatini*<br />
Katiuscia Santini Pontello<br />
Emy Santos da Silva<br />
Tilly Schaaf<br />
Sarah Schannes<br />
Sarah Schlossmacher<br />
Anja Schmit<br />
Tessy Schmit<br />
Pol Schons<br />
Anne Schwarz<br />
Julie Simon<br />
Carmen Soto*<br />
Roberta Spiteri<br />
Catherine Theves<br />
Lili Wagner<br />
Michèle Warnier*<br />
Laurence Warzee*<br />
Claire Weber<br />
Jill Weber<br />
Lynn Weyland<br />
Tammy Wiesen<br />
Jingya Zhang<br />
Aline Zirnheld<br />
Hautbois<br />
Françoise Bourgois*<br />
Carine Destrumelle<br />
Aida Horaniet<br />
Clarinettes<br />
Nicky Amado Ferrao<br />
Véronique Anciaux*<br />
Manon André<br />
Nathalie Berg<br />
Ann Biren<br />
Jean-Luc Blasius*<br />
Aline Brachtenbach<br />
Maëva Bragantini<br />
Pauline Bret<br />
Tanja Catani-Ewen<br />
Anouk Crochet<br />
Carine Defryn<br />
Dalilah Désirée Dias<br />
Céline Evrard<br />
Daisy Fernandes Andrade<br />
Muriel Fixemer<br />
Jil Friden<br />
Cindy Garofalo*<br />
Alessandro Gazzola Arias<br />
Lucie Gilson<br />
Joé Goelff<br />
Sophie Hansen<br />
Gordon Hoffmann<br />
Vicky Horn<br />
Julie Kayser<br />
Myriam Kirch<br />
Sophie Koch<br />
Bernadette Koch-Rotink<br />
Alexandra Kohn<br />
Fabien Kohnen<br />
Nora Kremer<br />
Isabelle Krier<br />
Claire Lallemand<br />
Julie Leruth<br />
Catherine Loos<br />
Joe Ludwig<br />
Chantal Moes-Pfeffer<br />
Annemarie Nagel<br />
Anne-Marie Nicolay<br />
Stephanie Nober<br />
Laurent Putz<br />
Thomas Radermecker<br />
Rayan Rafdy<br />
Aline Schiltz*<br />
Johanna Schmidt<br />
Francine Sosson*<br />
Marc Sosson*<br />
Candy Laura Steffen<br />
Danielle Thill<br />
Laura Thill<br />
Vanessa Trausch<br />
Claire Van Mechelen<br />
Vanessa Venturi*<br />
Liz Weiler<br />
Romy Wiesen<br />
Mandy Zwank<br />
Clarinettes basses<br />
Karin Ludivig<br />
Thierry Majerus*<br />
Annie Margue*<br />
Sonja Soons*<br />
Saxophones sopranos<br />
Magali Bossau<br />
Joy Clees<br />
Louis Donckel<br />
Saxophones altos<br />
Cindy Amado Ferrao<br />
Félix Bentz<br />
Daisy Bormann<br />
Maryse Boudlet*<br />
Jean-Claude Devigne*<br />
Vanessa Duprez<br />
Joé Fellens<br />
Loïc Fonseca<br />
Hui Yi Hang<br />
Félix Hennico<br />
Stanley Holcher<br />
David Jans<br />
Sascha Kroupchenka<br />
Zoltan Lacoste<br />
Pablo Martinez Soares<br />
Tim Munhowen<br />
Catherine Napoli-Kremer<br />
Pascale Neu*<br />
Michelle Nickels<br />
Rainier Radelet*<br />
Christiane Roeder<br />
Sarah Schmit<br />
Marlis Van Den Berg<br />
Saxophones ténors<br />
Jörg Benzmüller*<br />
Jérôme Gérard<br />
Claude Jungels<br />
Saxophones barytons<br />
Gilles Englebert<br />
Joëlle Wiseler*<br />
Cors en fa<br />
Pauline Bor<br />
Marc Bouchard*<br />
Anne-Sophie Duterme*<br />
Gilles Klein*<br />
David Lefevre*<br />
Sam Michels<br />
Laurent Molitor<br />
François Schammo*<br />
Bugles<br />
Max Grethen<br />
Jackie Kihn<br />
Chloé Martins<br />
Nicole Wantz-Thome<br />
Trompettes<br />
Paule Biren<br />
Charel Cannivé<br />
Alexandre Da Silva Louro<br />
Maurice Desquiot<br />
Noah Desquiot<br />
Félix Feider<br />
Jacques Feinen<br />
Alain Freymann<br />
Alain Gueben*<br />
Denis Heneaux*<br />
Patrick Yves Hengen*<br />
Philippe Keipes<br />
Fabrice Kohnen*<br />
Max Kraus<br />
Marc Loewen<br />
Charel Mercatoris<br />
Christian Napoli<br />
Nicolas Reyland<br />
Ramona Schuh*<br />
Michel Weber<br />
Jean-Marc Ziade<br />
Trombones ténors<br />
Edgar Becker*<br />
Josy Gilson<br />
Philippe Kremer<br />
Laurent Lemaire*<br />
Christophe Mertz*<br />
Claude Rasseneur*<br />
Jean-Marie Thein*<br />
Trombones basses<br />
Stefan Fricke<br />
Manuel Stoffels*<br />
Euphoniums<br />
Olivier Gravier*<br />
Felix Reiff<br />
Tubas<br />
Armand Barthel<br />
Gérard Close*<br />
Lex Glode<br />
Yves Schumacher*<br />
Cornet<br />
Eléonore Pottier<br />
Basson<br />
Inès Pyziak<br />
Baryton<br />
Constant Bret<br />
*Professeurs de stage<br />
113
114<br />
<strong>Grand</strong> Foyer<br />
16:04’57.9862”–17:00<br />
IIIIIIIIIIIIIIIIIIIIIIIIIIIIIIIIIIIIII PERFORMANCE INSTALLATION CONCERT (7–100)<br />
16:04’57.9862”–17:00 <strong>Grand</strong> Foyer<br />
«Any other activities are going on at the same time»<br />
Atelier hasard / Zufallswerkstatt<br />
Katharina Bihler voix, performance<br />
Elisabeth Flunger percussion, performance<br />
Stefan Scheib contrebasse, performance<br />
John Cage:<br />
Variations III for any one or any number of people performing any actions<br />
(1962–1963)<br />
Variations IV for any number of players, any sounds or combinations of sounds,<br />
produced by any means, with or without other activities (1963)<br />
0’00” (4’33” N° 2). Solo to be performed in any way by anyone (1962)<br />
But what about the noise of crumpling paper which he used to do in order to<br />
paint the series of «papiers froissés» or tearing up paper to make «papiers<br />
déchirés?» Arp was stimulated by water (sea, lake, and flowing waters like<br />
rivers), forests. for percussion ensemble (1985)<br />
One 4 for solo drummer (1990)<br />
cC/ omposed Improvisation for snare drum alone (1990)<br />
27’10.544” for a percussionist (1956)<br />
59½ seconds for a string player (1953)<br />
Branches for percussion (any number of players) (1976)<br />
5 Mesostics from Sixty‑two Mesostics re Merce Cunningham (1971)<br />
Sonatas and Interludes (1948, extraits / Auszüge)<br />
Sonata I<br />
Sonata IV<br />
Song Books for solo voice (1970)<br />
Solo for voice N° 6: Theater (irrelevant). The actor will make a numbered list<br />
of verbs (actions) and/or nouns (things).<br />
Solo for voice N° 7: Theater (relevant). A series of verbs and nouns…<br />
may be performed completely or in part.<br />
Solo for voice N° 8: 0’00” Theatre using electronics (irrelevant). In a situation<br />
provided with maximum amplification, perform a disciplined action…<br />
fulfilling in whole or part an obligation to others. No attention to given<br />
the situation (electronical, musical, theatrical).<br />
Solo for voice N° 9: Theater (relevant). See Solos 6 and 7.<br />
Solo for voice N° 10: Theater (irrelevant). See Solo 6.<br />
Solo for voice N° 15: Theater using electronics (relevant).<br />
Statement by Erik Satie<br />
Solo for voice N° 22: Theater with electronics (relevant).<br />
Regular and irregular breathing<br />
Solo for voice N° 23: 0’00” N° 2. Theater with electronics (irrelevant).<br />
Play a game with others.<br />
Solo for voice N° 26: 0’00” N° 2B. Theater with electronics (irrelevant).<br />
Play a game of solitaire.<br />
Solo for voice N° 27: Song (relevant)<br />
Solo for voice N° 31: Theater (irrelevant). See Solo 6.<br />
Solo for voice N° 36: Theater (irrelevant). Number given is number of things<br />
eaten or drunk. «I can drink without eating, but I certainly can’t eat<br />
without drinking.»<br />
Solo for voice N° 38: Theater (irrelevant). See Solo 36.<br />
Solo for voice N° 41: Theater with electronics (irrelevant).<br />
Produce feedback three times.<br />
Solo for voice N° 42: Theater with electronics (irrelevant).<br />
Produce feedback twice.<br />
Solo for voice N° 43: Theater with electronics (relevant). Improvise a<br />
melody using the following text by Erik Satie recording it meanwhile.
Solo for voice N° 44: Theater (irrelevant). Go off-space at a normal speed,<br />
returning somewhat later also at a normal speed.<br />
Solo for voice N° 46: Theater (irrelevant). Prepare something to eat.<br />
Solo for voice N° 50: Song with electronics (irrelevant)<br />
Solo for voice N° 55: Theater (irrelevant). Leave the stage and return<br />
by means of wheels.<br />
Solo for voice N° 57: Theater (relevant). Immobility (interior, exterior)<br />
Solo for voice N° 61: Theater (relevant). See Solos 6 and 7.<br />
Solo for voice N° 76: Theater (irrelevant). See Solo 6.<br />
Solo for voice N° 78: Theater (irrelevant). What can you do?<br />
«I can take off my shoes and put them on.»<br />
Solo for voice N° 81: Theater with electronics (technology) (relevant).<br />
Project four slides relevant to Thoreau.<br />
Solo for voice N° 82: Theater with electronics (relevant).<br />
Using a Paris café cognac glass… drink.<br />
Solo for voice N° 86: Theater with electronics (technology) (relevant).<br />
Project twenty-two slides relevant to Thoreau.<br />
Solo for voice N° 88: Theater (irrelevant). Leave the stage through the<br />
audience returning to the stage without leaving the theater. Do this<br />
very slowly.<br />
Solo for voice N° 89: Theater (relevant). Intersection of lines locates<br />
theater seat. Make a gift of an apple or some cranberries.<br />
George Brecht: Comb Music (1959–1962)<br />
Earle Brown: Folio (1952)<br />
Roman Haubenstock-Ramati: Sonans (1973)<br />
Roman Haubenstock-Ramati: Speload Mc (1971, extrait / Auszug)<br />
Dieter Schnebel: réactions (1960–1961)<br />
Howard Skempton: Fish Talk (1969)<br />
Christian Wolff: Edges (1968)<br />
Christian Wolff: Drinks (1971)<br />
..........................................................................................................................<br />
«Any other activities are going on at the same time»<br />
Der Titel dieser «Zufallswerkstatt» ist ein Zitat aus Variations III von John Cage.<br />
Nach einer sehr genauen und gleichzeitig mehrdeutigen Anleitung, auf welche<br />
Weise der Interpret sich anhand von Zufallsoperationen seine Version des<br />
Stückes ausarbeiten möge, führt Cage gegen Ende des Textes einige zusätzliche<br />
Unbestimmtheitsfaktoren ein und erweitert so das Möglichkeitsfeld der Aktionen:<br />
«Manche oder alle der zu spielenden Aktionen können durch Vorkommnisse in der Umgebung<br />
(Umweltveränderungen) gespielt werden, entweder durch bloße Wahrnehmung derselben oder<br />
durch Reaktion auf sie. Nicht alle Faktoren […] sollten vorausgeplant werden, es sollte Raum<br />
für Unvorhergesehenes bleiben. Irgendwelche anderen Aktivitäten passieren zur selben Zeit.»<br />
Eine ähnliche Erklärung gibt es auch in Variations IV. Auch hier mündet die<br />
akribisch genaue Arbeitsanweisung in einen Schlussabsatz, der die Freiheit des<br />
Interpreten und die Unbestimmtheit der Aufführung betont:<br />
«Der Ausführende muss sich nicht auf die Ausführung dieses Stückes beschränken. Er kann<br />
jederzeit etwas anderes tun. Und andere, die etwas anderes zur selben Zeit und am selben<br />
Ort ausführen, können, wenn sie wollen, in diese Performance eintreten.»<br />
In der Performance «Any other activities…» werden Variations III und Variations IV<br />
erst live ausgearbeitet und dann gespielt. Innerhalb von Variations IV kommen<br />
noch weitere Werke von John Cage und von anderen Komponisten zur Aufführung.<br />
Über die Auswahl der Stücke entscheidet das Los.<br />
Allen Kompositionen ist ein hoher Grad an Unbestimmtheit gemeinsam.<br />
«…man könnte es aufgeben, den Klang kontrollieren zu wollen, den Geist von Musik<br />
reinigen und sich daran machen, Möglichkeiten zu entdecken, dass die Klänge sie selbst sein<br />
können und nicht Träger von gekünstelten Theorien oder menschlichen Gefühlen.»<br />
115
116<br />
<strong>Grand</strong> Foyer<br />
16:04’57.9862”–17:00<br />
Um die Musik von Klischees und überkommenen Hörgewohnheiten zu befreien<br />
und die Klänge wieder sie selbst sein zu lassen, ist Unbestimmtheit für Cage eine<br />
wesentliche Bedingung seiner Musik. Mit Unbestimmtheit (indeterminacy) ist<br />
nicht etwa Ungenauigkeit oder Unklarheit gemeint, sondern die Unvorhersehbar-<br />
keit und Nicht-Vorherbestimmtheit des musikalischen Ereignisses. Unbestimmtheit<br />
und Aufgabe der Kontrolle erreicht Cage durch Zufallsmethoden bei der Kompo-<br />
sition seiner Werke und durch den Auftrag an den Interpreten, wichtige Entscheidun-<br />
gen im Kompositionsprozess zu treffen oder per Zufallsoperationen zu bestimmen.<br />
Schon bei den frühen Stücken für präpariertes Klavier wie den Sonatas and Interludes<br />
(1948) führt die Präparierung des Klaviers, obwohl genau definiert, zu sehr unter-<br />
schiedlichen Klängen und Tonhöhen. 1951 begann Cage, das I Ging für Kompo-<br />
sitionszwecke zu verwenden. Aus dieser frühen Zeit der Zufallskompositionen<br />
stammt 59 1/2” for a String Player (1953). In 27’10.544” (1956), das ebenfalls per<br />
Zufallsoperationen komponiert wurde, ist dem Interpreten nicht nur die Auswahl<br />
der Instrumente freigestellt, sondern auch die Entscheidung, ob er das Stück als<br />
Ganzes oder teilweise, live oder durch eine Aufnahme spielt.<br />
«Die Schlagzeugmusik ist der zeitgenössische Übergang von einer aufs Klavier bezogenen<br />
Musik zu einer Allklangmusik der Zukunft.»<br />
Im Lauf der Jahre entwickelt Cage verschiedenste Methoden, die endgültige Aus-<br />
arbeitung seiner Kompositionen dem Interpreten anzuvertrauen: In den Variations III<br />
(1962–1963) und Variatons IV (1962) sind es Plastikfolien, die auf eine Unterlage<br />
geworfen werden und durch ihre Positionen das Stück bestimmen. In vielen Fällen,<br />
u.a. auch in den Song Books, verwendet er Landkarten, Fotos oder Grafiken als<br />
Grundlage für die Komposition oder Interpretation. In Sixty‑two Mesostics re Merce<br />
Cunningham (1971) suggerieren ständig wechselndeSchriften und Schriftgrößen die<br />
Melodielinie, Intensität und Qualität der Darbietung. In späteren Werken erarbeitet<br />
der Interpret die Dauer der Abschnitte und ihre Inhalte selbst mittels Zufallsopera-<br />
tionen, so in Branches (1976), One 4 (1990) und cC/omposed Improvisation (1990).<br />
Um den Klängen zu ihrem objektiven Sein zu verhelfen und den Selbstausdruck<br />
(des Komponisten wie des Interpreten) zu verhindern, führt Cage noch weitere<br />
Unbestimmtheitsebenen ein: In But what about the noise of crumpling paper… (1985)<br />
werden die Musiker weit voneinander getrennt positioniert, damit sie beim Spielen<br />
ihren unabhängigen Puls beibehalten und nicht aufeinander reagieren.<br />
«Wo immer wir auch sein mögen, meistens hören wir Geräusche.»<br />
Andere Faktoren, die Unbestimmtheit erzeugen, sind Simultanaufführungen<br />
mehrerer Kompositionen, die zufallsbestimmte Verwendung von Elektronik, die<br />
Einbeziehung des Publikums, die Wahrnehmung von Umweltgeräuschen und<br />
zufälligen Ereignissen als Teil der Performance und die Ausführung von nichtmu-<br />
sikalischen, alltäglichen Tätigkeiten, aus denen Klang gewissermaßen als Neben-<br />
produkt entsteht. Alle diese Mittel kommen in den Song Books (1971) zum Einsatz.<br />
Jedes der 92 Solos for Voice gehört einer der folgenden Kategorien an: 1) Song.<br />
2) Song mit Elektronik. 3) Theater. 4) Theater mit Elektronik. Nicht in allen<br />
Aktionen kommt die Stimme zum Einsatz. Einige sind stumme oder geräuschhafte<br />
Mini-Performances, die zum Teil an Fluxus-Aktionen anknüpfen, zum Teil aus-<br />
formulierte Versionen von 0’00” sind, das wiederum eine Variante von 4’33” ist.<br />
In den Song Books setzt Cage seine beiden großen Vorbilder Erik Satie und Henry<br />
David Thoreau miteinander in Beziehung. Jedes Solo ist entweder relevant oder<br />
irrelevant für das Thema: «Wir verbinden Satie mit Thoreau».<br />
Mit 4’33” (1952) und 0’00” (1962) erreichte Cage den konzeptuellen Höhepunkt<br />
seines Komponierens mit Zufall und Unbestimmtheit, Ersteres als extreme Anwen-<br />
dung des Gebrauchs von Zufallsoperationen und als Frage nach den Grenzen
zwischen Stille, Geräusch und Musik, Letzteres, ein «Solo to be performed in any<br />
way by anyone», als radikales Loslassen der Kontrolle über den Interpreten.<br />
John Cages Gedanken und Aktivitäten übten großen Einfluss auf andere Kompo-<br />
nisten und Künstler aus, nicht zuletzt auch deshalb, weil sie dem Geist der Zeit<br />
entsprachen: In den 1950er Jahren setzte sich die vor dem ersten Weltkrieg ein-<br />
setzende Grenzüberschreitung und Vermischung der Künste rasant fort. In der<br />
Musik entstanden neue Konzepte und Gattungen, wie die Musique concrète,<br />
die musikalische Grafik, das Instrumentaltheater, die Klanginstallation und die<br />
Musikperformance. Vor diesem Hintergrund sind grafische Kompositionen<br />
wie Folio (1952) von Earle Brown, Kreise (1972) und Sonans (1973) von Roman<br />
Haubenstock-Ramati zu sehen, genauso wie die verbalen Handlungsanweisungen<br />
Fish Talk (1969) von Howard Skempton, Comb Music (1959–1962) von George<br />
Brecht und Drinks (1971) von Christian Wolff.<br />
Gleichzeitig etablierte sich in der zeitgenössischen Musik, auch inspiriert durch<br />
die Entwicklung des experimentellen Jazz, eine neue und eigenständige Improvi-<br />
sationspraxis. Viele Improvisationsstücke zeichnet ein hohes Maß an Unbestimmt-<br />
heit aus, besonders wenn sie kein musikalisches Material vorgeben, sondern, wie<br />
Christian Wolff in Edges (1968), Parameter wie Lautstärke, Dauer, Geschwindigkeit<br />
und Klang zueinander in Beziehung setzen, oder, wie Dieter Schnebel in réactions<br />
(1960–1961), die Möglichkeiten der Interaktion (in diesem Fall zwischen Inter-<br />
preten und Publikum) analysieren. (Elisabeth Flunger)<br />
Die kursiv gesetzten Zitate von John Cage stammen aus folgenden Texten und Partituren:<br />
Die Zukunft der Musik – Credo; Vortrag über Unbestimmtheit; Silence; Variations III; Variations IV; Song Books.<br />
John Cage: Variations III, Variations IV & 0’00”<br />
I finished Atlas Eclipticalis in 1961, and it took me nine months to write. I’ve<br />
always thought that composition was for me either something that took a long<br />
time or something that took a short time – the difference between oil painting<br />
and water color; and I’ve tried to have ways of working slowly and ways of<br />
working quickly. Now when I travel all the time, I can only use the ways of<br />
working quickly, because I don’t have much time. At least that’s how I feel. So<br />
I have tried to write in these last two years only quickly written music. One was<br />
0’00”, and then Variations III and Variations IV.<br />
These three pieces have in common no measurement of time, no use of the stop-<br />
watch, which my music for the previous ten years had – the structure of time, or<br />
the process of time; but in these pieces I’m trying to find a way to make music<br />
that does not depend on time. In an earlier interview, when I’m asked what aspect<br />
of sound interests me the most, I say time, but this view that I’m trying to express<br />
now is one in which time is abandoned. This is very difficult, because a greater part<br />
of my experience as a composer has to do with measurement. And it is precisely<br />
this capacity for measurement that I want to be free of. […]<br />
Variations III, you know, has circles that are all the same, but each one is on a<br />
different sheet of transparent plastic. When they are tossed onto a surface, they<br />
overlap. The ones that do not overlap the principal group are removed; so what<br />
you have in the end is a complex of overlapping circles. Some overlap more<br />
circles than others. For instance, the lowest will be one overlapping one other,<br />
whereas the highest will be seven, eight, or ninecircles overlapping.<br />
What I mean by that is that our activities… We are constantly active; we are never<br />
inactive. There is no space in our lives. But there is a greater or lesser number of<br />
things going on at the same moment; so that if I’m not doing anything other<br />
than listening, the fact that I’m listening is that I’m doing something by listening.<br />
That’s what Variations III is.<br />
John Cage (1965, in an interview with Lars Gunnar Bodin and Bengt Emil Johnson. –<br />
Richard Kostelanetz: Conversing with Cage. – New York: Routledge, 2003. – p. 69–70)<br />
117
118<br />
<strong>Grand</strong> Foyer<br />
16:15–17:00, 16:15, 17:00<br />
IIIIIIIIIIIIIIIIIIIIIIIIIIIIIIIIIIIIIIIIIIIIIIIIIIIIIIIIIIIIIIIIIIIIIIIIIIIIIIIII DIY WORKSHOP (7–100)<br />
16:15–17:00 <strong>Grand</strong> Foyer<br />
«Lullaby (Family Edition)»<br />
Une boîte à musique joue des dessins d’enfants /<br />
Kinder malen Musik für eine Spieldose<br />
Ada Günther atelier (L, F, D, E)<br />
..........................................................................................................................<br />
John Cage begeisterte sich für Spieldosen und entwarf als eines seiner letzten<br />
Werke ein Extended Lullaby (Erweitertes Wiegenlied), das als Objekt aus zwölf<br />
Miniatur-Spieluhren zum Selberdrehen gebaut wurde. (Eine Bearbeitung für<br />
mehrere Toy Pianos spielt Margaret Leng Tan um 17:30 in der Salle de Musique<br />
de Chambre.) Eine «interaktive» Spieldose, wie sie ähnlich auch in mehreren<br />
Stücken für Toy Piano vorkommt, kann im Foyer mit selbst angefertigten<br />
‹Partituren› aus Pappstreifen zum Klingen gebracht werden.<br />
IIIIIIIIIIIIIIIIIIIIIIIIIIIIIIIIIIIIIIIIIIIIIIIIIIIIIIIIIIIIIIIIIIIIIIIIIIIIIIIII PERFORMANCE (7–100)<br />
16:15 <strong>Grand</strong> Foyer<br />
Stefan Fricke performance<br />
George Maciunas: Solo for sick man (1962) – 7’<br />
..........................................................................................................................<br />
The score of this Fluxus composition is a typewritten chart with rows labeled<br />
«cough,» «spit,» «gargle,» «sniff deeply and swallow,» and so on. Blank columns<br />
provide space to note the sequence and duration of each «event,» producing<br />
something akin to a musical score of symptoms. (http://georgemaciunas.com)<br />
IIIIIIIIIIIIIIIIIIIIIIIIIIIIIIIIIIIIIIIIIIIIIIIIIIIIIIIIIIIIIIIIIIIIIIIIIIIIIIIII PERFORMANCE (7–100)<br />
17:00 <strong>Grand</strong> Foyer<br />
ensemble recherche<br />
Christian Dierstein percussion<br />
Dieter Schnebel: Zeichen‑Sprache. Musik für Gesten und Stimmen<br />
(1987–1989, Auszüge / extraits) – 7’<br />
Poem für 2 Rümpfe (version solo)<br />
Poem für 1 Springer<br />
en parallèle / simultan:<br />
Stefan Fricke performance<br />
Dick Higgins: Danger Music N° 15 (for the Dance) (1962) – 6’<br />
George Brecht: Drip Music. Second Version (1959)<br />
..........................................................................................................................<br />
Dieter Schnebel: Zeichen-Sprache<br />
His sound and language compositions from the 1950s to 1980s (Für Stimmen and<br />
Glossolalie) were pioneering; the premieres of his experimental works for music<br />
theatre (Maulwerke and Körper‑Sprache) created scandals. Language is treated as<br />
music, processes of vocal articulation and silent physical gestures attain the level<br />
of music theatre. In subsequent cycles, the music-theatrical miniatures Laut‑<br />
Gesten‑Laute and Zeichen‑Sprache, Schnebel became an innovative border-crosser<br />
between music theatre, vocal performance art and sound poetry.<br />
Dick Higgins: Danger Music N° 15<br />
The complete score of this Fluxus composition reads as follows:<br />
«Work with butter and eggs for a time.»<br />
George Brecht: Drip Music. Second Version<br />
The complete score of this Fluxus composition reads as follows: «Dripping»<br />
(cf. George Brecht: Drip Music [1959], <strong>Grand</strong> <strong>Auditorium</strong> 21:15)
<strong>Grand</strong> Foyer<br />
17:15 & 17:30–18:45<br />
IIIIIIIIIIIIIIIIIIIIIIIIIIIIIIIIIIIIIIIIIIIIIIIIIIIIIIIIIIIIIIII PERFORMANCE CONCERT (7–100)<br />
17:15 <strong>Grand</strong> Foyer<br />
ensemble recherche<br />
Christian Dierstein percussion, performance<br />
Martin Fahlenbock performance<br />
John Cage: Suite for Toy Piano (1948, version pour gongs balinais,<br />
arr. Christian Dierstein) – 8’<br />
François Sarhan: Die Enzyklopädie des Professor Glaçon: Vice versa – 6’<br />
..........................................................................................................................<br />
John Cage: Suite for Toy Piano<br />
(voir / siehe Salle de Musique de Chambre 17:00)<br />
François Sarhan: Vice versa<br />
Das ‹Duett für zwei Ausführende› mit dem Titel Vice versa ist ein winziges Mosaik-<br />
steinchen aus der groß angelegten Multimedia-Collage Die Enzyklopädie des Professor<br />
Glaçon des französischen Komponisten François Sarhan. «Ziel des Langzeitprojekts<br />
ist es, eine große Anzahl an Dokumenten, Kompositionen, Zeugnissen, Bildern,<br />
Büchern und Videos zu präsentieren, die vorgeben, eine Art von Enzyklopädie zu<br />
bilden. Alle diese Dokumente präsentieren erfundene Fakten, Tiere, Musiker usw.<br />
Die Musik hat entweder die Gestalt eines ‹objet trouvé› oder ist komponiert.»<br />
(François Sarhan) Typischerweise wird die Enzyklopädie in einem düsteren Museum<br />
in Szene gesetzt – beispielsweise im 2011 im Donaueschinger Jagdmuseum (mit<br />
einem staubigen ausgestopften Bären) oder beim Festival Ultima 2012 im Geolo-<br />
gischen Museum von Oslo, wo man gar um ein Dinosaurierskelett herumspaziert.<br />
Man stelle sich also beispielsweise die beiden Ausführenden als leicht aus der<br />
Rolle fallende Archäologieprofessoren oder gar als streitende Statuen vor. Was<br />
man sich hingegen kaum vorstellen kann, ist jedoch, dass Vice versa – in dem kein<br />
einziges Musikinstrument zum Einsatz kommt, sondern nur Stimme und Körper<br />
(Body Percussion) – von Schauspielern ausgeführt wird, denn das kunstvolle<br />
kammermusikalische Timing ist eine Aufgabe für Virtuosen. (Bernhard Günther)<br />
IIIIIIIIIIIIIIIIIIIIIIIIIIIIIIIIIIIIII PERFORMANCE INSTALLATION CONCERT (7–100)<br />
17:30–18:45 <strong>Grand</strong> Foyer<br />
«Any other activities are going on at the same time»<br />
Atelier hasard / Zufallswerkstatt<br />
..........................................................................................................................<br />
(voir / siehe <strong>Grand</strong> Foyer 16:04’57.9862”–17:00)<br />
IIIIIIIIIIIIIIIIIIIIIIIIIIIIIIIIIIIIIIIIIIIIIIIIIIIIIIIIIIIIIIIIIIIIIIIIIIIIIIIII DIY WORKSHOP (7–100)<br />
17:30–18:45 <strong>Grand</strong> Foyer<br />
«Lullaby (Family Edition)»<br />
Une boîte à musique joue des dessins d’enfants /<br />
Kinder malen Musik für eine Spieldose<br />
Ada Günther atelier (L, F, D, E),<br />
..........................................................................................................................<br />
(voir / siehe <strong>Grand</strong> Foyer 17:30–18:45)<br />
IIIIIIIIIIIIIIIIIIIIIIIIIIIIIIIIIIIIIIIIIIIIIIIIIIIIIIIIIIIIIIIIIIIIIIIIIIIIIIIIIIIIIIIIIIIIII PERFORMANCE<br />
18:33’01.538” <strong>Grand</strong> Foyer<br />
Stefan Fricke performance<br />
George Maciunas: Solo for sick man (1962) – 7’<br />
..........................................................................................................................<br />
The score of this Fluxus composition is a typewritten chart with rows labeled<br />
«cough,» «spit,» «gargle,» «sniff deeply and swallow,» and so on. Blank columns<br />
provide space to note the sequence and duration of each «event,» producing<br />
something akin to a musical score of symptoms. (http://georgemaciunas.com)<br />
119
120<br />
<strong>Grand</strong> Foyer<br />
18:45, 19:00, 19:30, 19:45 & 20:00<br />
IIIIIIIIIIIIIIIIIIIIIIIIIIIIIIIIIIIIIIIIIIIIIIIIIIIIIIIIIIIIIIIIIIIIIIIIIIII PERFORMANCE CONCERT<br />
18:45 <strong>Grand</strong> Foyer<br />
United Instruments of Lucilin<br />
Guy Frisch percussion<br />
John Cage: cC/ omposed improvisation for snare drum alone (1987–1990) – 8’<br />
..........................................................................................................................<br />
This work exists in three in versions (for Steinberger bass guitar, one-sided drums<br />
with or without jangles, and snare drum alone). Each version comprises 2 pages<br />
of text with performance instructions. Each has 3 time brackets, 1 of which is<br />
variable, surrounded by 2 that are fixed. Each time bracket contains 1–8 events<br />
and 1–64 icti. The performer performs chance operations to decide the number of<br />
events and icti to be played, as well as specifics concerning the use of instruments<br />
as well as durations of sounds. (www.johncage.org)<br />
IIIIIIIIIIIIIIIIIIIIIIIIIIIIIIIIIIIIIIIIIIIIIIIIIIIIIIIIIIIIIIII CONCERT PERFORMANCE (7–100)<br />
19:00 <strong>Grand</strong> Foyer<br />
Orchestre d’Harmonie des Jeunes de l’UGDA<br />
James Clarke: 2012‑L for woodwind and brass orchestra<br />
(2012, commande / Kompositionsauftrag <strong>Philharmonie</strong> <strong>Luxembourg</strong>) – 30’<br />
..........................................................................................................................<br />
(voir / siehe <strong>Grand</strong> Foyer 15:00)<br />
IIIIIIIIIIIIIIIIIIIIIIIIIIIIIIIIIIIIIIIIIIIIIIIIIIIIIIIIIIIIIIIIIIIIIIIIIIIIIIIII PERFORMANCE (7–100)<br />
19:30 <strong>Grand</strong> Foyer<br />
Stefan Fricke performance<br />
La Monte Young: Composition 1961 N° 4 (1961)<br />
..........................................................................................................................<br />
The score of this Fluxus composition reads as follows:<br />
«Draw a straight line and follow it.»<br />
en parallèle / simultan:<br />
United Instruments of Lucilin<br />
Claude Origer trombone<br />
John Cage: Solo for sliding trombone (Concerto for piano and orchestra)<br />
(1957–1958) – 8’<br />
..........................................................................................................................<br />
(voir p. 93 & 95 / siehe S. 93 & 95)<br />
IIIIIIIIIIIIIIIIIIIIIIIIIIIIIIIIIIIIIIIIIIIIIIIIIIIIIIIIIIIIIIIIIIIIIIIIIIIIIIIIIIIIIIIIIIII CONCERT (7–100)<br />
19:45 <strong>Grand</strong> Foyer<br />
«Songs of irrelevance and passion III»<br />
cantoLX<br />
John Cage: Song Books for solo voice (1970, extraits) – 10’<br />
Présentation du CD / CD-Präsentation cantoLX:<br />
«Girolamo Frescobaldi / John Cage – Songs of irrelevance and passion»<br />
..........................................................................................................................<br />
(voir / siehe <strong>Grand</strong> <strong>Auditorium</strong> 16:00)<br />
IIIIIIIIIIIIIIIIIIIIIIIIIIIIIIIIIIIIIIIIIIIIIIIIIIIIIIIIIIIIIIIIIIIIIIIIIIIIIIIII PERFORMANCE (7–100)<br />
20:00 <strong>Grand</strong> Foyer<br />
Stefan Fricke performance<br />
Takehisa Kosugi: Micro 1 (1961) – 7’
<strong>Grand</strong> <strong>Auditorium</strong><br />
15:34’10.554” & 15:43’1.1499”<br />
<strong>Grand</strong> <strong>Auditorium</strong><br />
IIIIIIIIIIIIIIIIIIIIIIIIIIIIIIIIIIIIIIIIIIIIIIIIIIIIIIIIIIIIIIIIIIIIIIIIIIIIIIIII PERFORMANCE (7–100)<br />
15:34’10.554” <strong>Grand</strong> <strong>Auditorium</strong><br />
United Instruments of Lucilin<br />
Guy Frisch percussion<br />
John Cage: One 4 for solo drummer (1990) – 7’<br />
..........................................................................................................................<br />
The score of One 4 consists of six time brackets for the left hand and eight for the<br />
right, each containing a single sound. Thus, there are a total of fourteen sounds<br />
heard throughout the entire composition. Dynamics and choice of drums and<br />
cymbals are free. (www.johncage.org)<br />
IIIIIIIIIIIIIIIIIIIIIIIIIIIIIIIIIIIIIIIIIIIIIIIIIIIIIIIIIIIIIIIIIIIIIIIII TOY PIANO CONCERT (7–100)<br />
15:43’1.1499” <strong>Grand</strong> <strong>Auditorium</strong><br />
Phyllis Chen, Isabel Ettenauer, Pascal Meyer, Xenia Pestova toy piano<br />
Karlheinz Essl: Miles to go for 4 prepared and amplified toy pianos<br />
(2012, commande / Kompositionsauftrag <strong>Philharmonie</strong> <strong>Luxembourg</strong>,<br />
création / Uraufführung) – 14’<br />
..........................................................................................................................<br />
Having composed a number of works for toy piano since 2005 [cf. Espace<br />
Découverte 20:00], I was commissioned by the <strong>Philharmonie</strong> <strong>Luxembourg</strong> to<br />
write a piece for the first Toy Piano World Summit on December 2, 2012.<br />
For every new piece involving the toy piano, I have set out to convey a different<br />
perspective. This time, however, I felt stuck for ideas and didn’t want to repeat<br />
myself. In my despair, I began to dismantle a 25-key table-top piano. I opened<br />
the case and removed the set of tines that are responsible for producing the<br />
characteristic chime-like sounds of the instrument. Then I changed its position so<br />
that the hammers were not hitting the rods. Instead, the metal bar to which they<br />
are mounted was struck to create a metallic noise without any pitches. To make<br />
these subtle sounds more audible, I connected a contact microphone to the sound<br />
board and amplified the signal with a small loudspeaker. I was amazed at this new<br />
sound world. A new instrument was born: a gamelan-like percussion orchestra<br />
at my fingertips! Along with those metallic tones, this modified instrument<br />
contained even more sounds: a dry wooden attack on the lowest key (where the<br />
hammer directly hits the sound board) and also a few notes that still produce the<br />
usual toy piano tones.<br />
These new possibilities immediately kindled my imagination. By improvising with<br />
this setup, I discovered a variety of structural elements that attempted to connect<br />
to each other. Furthermore, the amplification became more and more important;<br />
not only to make the instrument louder, but also to achieve an aggressive<br />
expression more reminiscent of a thrash metal band than that of a children’s<br />
instrument.<br />
In Miles to go, the four players are treated as a single unit, forming a single metainstrument.<br />
They are not merely playing different voices, but contributing to a<br />
common sound that they are creating together. The dense and fast hammering<br />
at independent tempos creates haunting phasing effects that appear as an aural<br />
rendering of the well-known visual ‹moiré patterns.› These hectic and breathless<br />
movements evoke moments of stress and unrest but at a certain point, become<br />
transformed by the listener to the opposite: a quality of calmness. Finally, another<br />
transformation takes place when the percussive attacks are gradually replaced<br />
by soft and flowing sounds, which are achieved by stroking and scratching the<br />
soundboard with the handle of a percussion mallet.<br />
121
Page de droite / Rechte Seite:<br />
John Cage,<br />
preparing a piano (~1960)<br />
Photographer: Ross Welser<br />
Courtesy of the<br />
John Cage Trust<br />
122<br />
<strong>Grand</strong> <strong>Auditorium</strong><br />
16:00 & 16:30<br />
This formal process gave rise to the title Miles to go which was borrowed from the<br />
poem Stopping by Woods on a Snowy Evening by Robert Frost:<br />
The woods are lovely, dark and deep.<br />
But I have promises to keep,<br />
And miles to go before I sleep,<br />
And miles to go before I sleep.<br />
Karlheinz Essl<br />
IIIIIIIIIIIIIIIIIIIIIIIIIIIIIIIIIIIIIIIIIIIIIIIIIIIIIIIIIIIIIIIIIIIIIIIIIIIIIIIIIIIIIIIIIIIIIIIIIIIIIIII CONCERT<br />
16:00 <strong>Grand</strong> <strong>Auditorium</strong><br />
«Songs of irrelevance and passion I»<br />
cantoLX<br />
Lilith Verhelst soprano<br />
Marivi Blasco soprano<br />
Jonathan Deceuster contreténor<br />
Peter de Laurentiis ténor<br />
Jean-Paul Majerus basse<br />
Frank Agsteribbe clavecin, direction<br />
Girolamo Frescobaldi: Primo Libro d’Arie Musicali (1630)<br />
«Degnati, ò gran Fernando». Canto in stile recitativo<br />
«Signor, c’hora frà gli ostri». Sonetto in stile recitativo<br />
John Cage: Song Books for solo voice (1970)<br />
Solo for voice N° 27: Song (relevant)<br />
Girolamo Frescobaldi: Primo Libro d’Arie Musicali (1630)<br />
«Così mi disprezzate?». Aria di passacaglia<br />
«Troppo sotto due stele». Aria<br />
John Cage: Song Books for solo voice (1970)<br />
Solo for voice N° 52: Aria N° 2 & Aria (1958)<br />
Solo for voice N° 15: Theater using electronics (relevant).<br />
Statement by Erik Satie<br />
20’<br />
..........................................................................................................................<br />
Le but de ce programme: une confrontation inattendue des évolutions radicales<br />
dans l’écriture vocale, au début du 17 e siècle, et dans la deuxième moitié du 20 e .<br />
Même si l’esthétique et le monde sonore des deux périodes sont complète-<br />
ment différents, on y retrouve quand même une recherche de nouvelles possibilités,<br />
de styles inconnus et même choquants. Ma fascination pour ces deux compo-<br />
siteurs est à la base de ce projet – un projet qui a été reçu avec succès aux festivals<br />
de musique ancienne de Bruges (MA-Festival) et Utrecht (Festival Oude Muziek).<br />
L’enregistrement du concert à Utrecht a été diffusé aux Pays-Bas, ainsi qu’en Israël.<br />
Ce programme est aussi le contenu du premier CD de cantoLX. (Frank Agsteribbe)<br />
IIIIIIIIIIIIIIIIIIIIIIIIIIIIIIIIIIIIIIIIIIIIIIIIIIIIIIIII DIY PERFORMANCE CONCERT (7–100)<br />
16:30 <strong>Grand</strong> <strong>Auditorium</strong><br />
«Das Publikum komponiert I»<br />
Kunsu Shim, Gerhard Stäbler performance, présentation (D)<br />
Gerhard Stäbler: Rachengold. Geheime Partitur für einen Performer (1992) – 4’<br />
Kunsu Shim: participation. Eine kollektive Komposition mit dem Publikum<br />
(2009) – ~12’<br />
Kunsu Shim: positive spaces (1994) – ~1’<br />
a. für Publikum – b. für 4 Spieler<br />
..........................................................................................................................<br />
Im ersten der heutigen Konzerte mit Gerhard Stäbler und Kunsu Shim wird unter<br />
anderem das Publikum eingeladen, zu einer Komposition beizutragen, die dann<br />
um 18:45 Uhr in der Salle de Musique de Chambre zur Uraufführung kommt<br />
(voir / siehe Salle de Musique de Chambre 18:30, 18:45, 20:45, 21:00).
Margaret Leng Tan<br />
and John Cage<br />
(photo: George Hirose)<br />
124<br />
<strong>Grand</strong> <strong>Auditorium</strong><br />
17:00<br />
IIIIIIIIIIIIIIIIIIIIIIIIIIIIIIIIIIIIIIIIIIIIIIIIIIIIIIIIIIIIIIIIIIIIIIIIIIIIIIIIIIIIIIIIIIIIIIIIIIIIIIII CONCERT<br />
17:00 <strong>Grand</strong> <strong>Auditorium</strong><br />
«Through the Silence»<br />
A John Cage birthday homage I<br />
Margaret Leng Tan piano<br />
John Cage: Daughters of the Lonesome Isle for solo prepared piano (1945) – 8’<br />
John Cage: Dream for piano (1948, version for piano and toy piano,<br />
arr. Margaret Leng Tan) – 7’<br />
John Cage: In the name of the holocaust for solo prepared piano (1942) – 6’<br />
..........................................................................................................................<br />
John Cage: Daughters of the Lonesome Isle<br />
The prepared piano is John Cage’s most famous invention. Recalling Henry<br />
Cowell’s excursions into the piano’s interior, Cage discovered that mutes of<br />
varying materials wedged between the strings of a grand piano could drastically<br />
transform the sound of the instrument endowing each note with a unique timbre.<br />
In his preface to Amores, Cage stipulated that «on completion of the preparation…<br />
an instrument having convincingly its own special characteristics, not even suggest-<br />
ing those of a piano, must be the result.»<br />
The timbral diversity of the prepared piano made it the most practical instrument<br />
for Cage and during the 1940s he created many works in this genre for dance,<br />
most often for Merce Cunningham and occasionally for others such as Jean<br />
Erdman, for whom Daughters of the Lonesome Isle was written. Eschewing transitions<br />
the work consists of nineteen modular sections following the structure of the dance.<br />
Daughters’ extensive all-metal preparation fulfills Cage’s intention to create «a per-<br />
cussion orchestra under the control of a single player.» His prepared piano sonor-<br />
ities have often been compared to those of the gamelan (Indonesian percussion<br />
orchestra). However, in a 1982 letter to me, Cage disclaimed any such influences:<br />
«Rather, I was making a music not based on Western tonality and including<br />
noises. The strangeness of what I was doing led many to think of it as oriental.»<br />
(Margaret Leng Tan)<br />
John Cage: Dream<br />
Dream and its companion piece of the same year, In a Landscape, evoke echoes<br />
of Erik Satie. Early examples of ambient music, they are precursors of the New<br />
Age aesthetic. Within Dream’s restricted gamut of pitches also lie the seeds of<br />
Minimalism. Modal melodic tones sustained either manually or with the pedal,<br />
are transformed into harmonic resonances fusing and fading away. Given the toy<br />
piano’s penchant for generating clouds of lingering overtones, I have taken the<br />
liberty of requisitioning my toy piano for two of Dream’s three repetitions.<br />
Dream was written for Merce Cunningham. (Margaret Leng Tan)<br />
(For an interview extract of John Cage about Souvenir, Dream, and ASLSP<br />
cf. <strong>Grand</strong> <strong>Auditorium</strong> 17:30)<br />
John Cage: In the Name of the Holocaust<br />
Written for the «string» piano of his mentor, Henry Cowell, In the Name of the<br />
Holocaust was composed as a dance score for Merce Cunningham. Ever staunchly<br />
apolitical, John Cage always maintained that the title was a pun on «In the Name<br />
of the Holy Ghost.» Nonetheless, Holocaust remains an uncompromising dramatic<br />
testament with its haunting pizzicato of prepared strings shattered by the brutal<br />
jangling of loose screws, and its culmination, a cataclysm of massive forearm<br />
clusters. (Margaret Leng Tan)
<strong>Grand</strong> <strong>Auditorium</strong><br />
17:30<br />
IIIIIIIIIIIIIIIIIIIIIIIIIIIIIIIIIIIIIIIIIIIIIIIIIIIIIIIIIIIIIIIIIIIIIIIIIIII CONCERT PERFORMANCE<br />
17:30 <strong>Grand</strong> <strong>Auditorium</strong><br />
Maurice Clement orgue<br />
John Cage: Souvenir for solo organ (1983) – 6’<br />
en parallèle / simultan:<br />
Stefan Fricke performance<br />
Tomas Schmit: Klavierstück N° 1 (1962)<br />
United Instruments of Lucilin<br />
John Cage: Two for flute and piano (1987) – 10’<br />
Marcel Reuter: nouvelle œuvre / neues Werk (01./02.12.2012,<br />
création / Uraufführung) – 3’<br />
..........................................................................................................................<br />
John Cage: Souvenir<br />
«There’s a piece of mine, which I’m sure is very popular, the one called Dream<br />
[1948, cf. <strong>Grand</strong> <strong>Auditorium</strong> 17:00 & Espace Découverte 18:30]. And there<br />
was an organist who asked me to write a piece, and when I agreed he said: ‹The<br />
piece of yours that I like most is Dream, and I would like the new piece to be<br />
like Dream.› He’d already sent me half of the commission, and I sent it back to<br />
him and said, ‹I don’t want to write Dream over again.› He then sent the money<br />
back to me and said, ‹Do whatever you wish.› Since he had given me complete<br />
freedom, I, of course, wanted to do what he wanted me to do. [laughs] So I wrote<br />
a rather poor piece called Souvenir. Then more recently I wrote – by means of<br />
chance operations and so forth – ASLSP, which can be played on the piano or<br />
the organ. I think it’s much more beautiful than Souvenir or Dream.»<br />
John Cage (1987, in an interview with Peter Dickinson. Peter Dickinson: CageTalk. –<br />
Rochester/NY: University of Rochester Press, 2006. – p. 39)<br />
Tomas Schmit: Klavierstück N° 1<br />
Diese Fluxus-Partitur besteht aus folgender Anweisung: «Der Ausführende platziert<br />
verschiedene Objekte – Spielzeug, Schachspiele, Beton- und Holzklötze, Ziegel-<br />
steine, Glasvasen, Gummibälle usw. – auf den geschlossenen Deckel eines großen<br />
Flügels. Er kann diese Objekte sehr sorgfältig und mit Bedächtigkeit arrangieren.<br />
Er kann ein Gebäude aus den Klötzen konstruieren oder die Schachspiele arran-<br />
gieren oder die verschiedenen Spielsachen anordnen usw. Wenn er sein Arrange-<br />
ment komplettiert hat, hebt er plötzlich den großen Deckel an. Der Flügel muss so<br />
stehen, dass, wenn der Deckel geöffnet wird, die Objekte ins Publikum rutschen.»<br />
John Cage: Two<br />
This is Cage’s first composition in his series of «number» pieces. Each of its two<br />
parts has ten time-brackets, the eighth of which (7’15”–7’45”) is fixed, the others<br />
flexible. Sounds in a given time-bracket are not to be repeated. The piano part is<br />
notated on two staves, one to be played in the given order, the notes being played<br />
in any relation to the sounds in the other staff. Each time-bracket consists of 7 to<br />
10 tones. The flute part consists of extremely soft (mp–pp), low tones. Each timebracket<br />
here contains only one tone, with a total of three different pitches across<br />
the total duration of the work. (www.johncage.org)<br />
Marcel Reuter: Neues Werk<br />
Bei dem neuen Werk von Marcel Reuter handelt es sich um das während der<br />
Aufführung von John Cages WGBH‑TV durch Marcel Reuter am 01.12.2012 im<br />
Rahmen des Festivals rainy days komponierte (respektive begonnene?) Werk<br />
(vgl. S. 92 & 96).<br />
125
126<br />
IIIIIIIIIIIIIIIIIIIIIIIIIIIIIIIIIIIIIIIIIIIIIIIIIIIIIIIIIIIIIIIIIIIIIIIIIIIIIIIIIIIII TOY PIANO CONCERT<br />
18:00 <strong>Grand</strong> <strong>Auditorium</strong><br />
Isabel Ettenauer, Phyllis Chen toy piano<br />
minute. The work also serves as an exploration of the post-tonal harmonic possibilities within the twelve-note chromatic scale as presented by Elliott Carter in his<br />
monumental publication of the Harmony Book, with additional pitch material directly derived from Elliott Carter’s 3-note chord subsets of 6-note chord no. 35 (D!,<br />
E, F, G, A! and B). The arrangement for two 37-key toy pianos and an unlimited number of 25-key toy pianos features an indeterminate modular section<br />
incorporating sixty-four ‘musical’ events (in direct reference to the 64 hexagrams of the I Ching oracle, or ‘Book of Changes’ — originating in the Western Zhãu Dynasty<br />
([122-771 BC]) that may be performed by any number of professional and non-professional toy pianists.<br />
Andrián Pertout: Estrellita for two 37-key toy pianos and an unlimited number<br />
of 25-key toy pianos N° 409b* (2012, création / Uraufführung) – 7’<br />
Gerhard E. Winkler: Mendelssohn´s Midsummer Nightmare<br />
for two toy pianos* (2011/2012, création / Uraufführung) – 4’<br />
Maria Kallionpää: Toccata for two toy pianos and one performer*<br />
(2011, création / Uraufführung) – 5’<br />
..........................................................................................................................<br />
Andrián Pertout: Estrellita<br />
In his article entitled De Bruijn Sequences Drew Armstrong asks: «What is special<br />
about the following cyclic binary word (cycle of 0’s and 1’s): 0011, 1010? As we<br />
travel around the cycle (either clockwise or counterclockwise), we will encounter<br />
each of the 23 = 8 three-digit patterns 000, 001, 010, 011, 100, 101, 110, 111 exactly<br />
once. The formal name for this kind of pattern is a De Bruijn Sequence. A De Bruijn<br />
sequence of rank n on an alphabet of size k is a cyclic word in which each of the<br />
kn De Bruijn Cycle of Sixteen 0’s and 1’s<br />
0 0 0 0<br />
0 0 0 1<br />
0 0 1 0<br />
0 1 0 0<br />
1 0 0 1<br />
0 0 1 1<br />
words of length n appears exactly once as we travel around the cycle. De Bruijn<br />
0 1 1 0<br />
sequences have applications 1 1 to 0 computers 1 (electronic memory and coding theory),<br />
1 0 1 0<br />
crime (efficiently cracking a combination lock), and of course magic tricks.»<br />
‘Estrellita’ adopts a De Bruijn cycle consisting of sixteen 0’s and 1’s arranged as a unique four-digit series within the range of 0000 and 1111, or 0000100110101111<br />
— a series generating “each of the 16 possible arrangements of four binary characters.” The rhythmic displacement of the pattern by one digit yields the following<br />
numerical series: 0000, 0001, 0010, 0100, 1001, 0011, 0110, 1101, 1010, 0101, 1011, 0111, 1111, 1110, 1100 and 1000. The transformation of the a De Bruijn<br />
sequence into minim pulses as utilized in the work equal 1+1+1+1, 1+1+1+2, 1+1+2+1, 1+2+1+1, 2+1+1+2, 1+1+2+2, 1+2+2+1, 2+2+1+2,<br />
2+1+2+1, 1+2+1+2, 2+1+2+2, 1+2+2+2, 2+2+2+2, 2+2+2+1, 2+2+1+1 and 2+1+1+1.<br />
A De Bruijn cycle of<br />
sixteen 0’s ans 1’s<br />
<strong>Grand</strong> <strong>Auditorium</strong><br />
18:00<br />
0<br />
1<br />
1<br />
0<br />
0<br />
1<br />
1<br />
According to Derrick Niederman in 0 Number 1 1 1 Freak: From 1 to 200 — The Hidden<br />
1 1 1 1<br />
Language of Numbers Revealed, «The existence 1 1 of 1 De 0 Bruijn cycles for any desired<br />
alphabet and cycle size can be proved using 1 graph 1 0 theory, 0 and these cycles are<br />
1 0 0 0<br />
related to a problem known as universal coloring,» whereby if you were to «color<br />
each of the 16 positions (in an arrangement of sixteen 0’s and 1’s) with one of four<br />
colours in such a way that as you went around the circle, you’d come across each<br />
of the 16 possible ordered pairs of those four colors — that is, (red, blue), (blue,<br />
yellow), and so on.»<br />
Estrellita (or «Little Star») was especially arranged for the Toy Piano World Summit<br />
at the rainy days 2012 festival at <strong>Philharmonie</strong> <strong>Luxembourg</strong> as a Homenaje a<br />
John Cage (1912–1992) in celebration of the 100 th anniversary of his birth. In the<br />
tradition of American composer, pianist and theorist Henry Cowell (1897–1965)<br />
and his monumental publication of New Musical Resources (1930), the work<br />
explores a variety of compositional techniques developed during the twentieth<br />
century by American experimentalist composer Conlon Nancarrow (1912–1997)<br />
and documented by Kyle Gann in The Music of Conlon Nancarrow (1995). The<br />
C Major scale is adopted as the basic pitch material, while the simple five-limit<br />
frequencies ratios associated with the C Major triad form the basis for rhythmic<br />
development: fundamental or unison (the frequency ratio 1/1), just major third<br />
or 5 th harmonic (5/4, or 386.314 cents), and just perfect fifth or 3 rd harmonic<br />
(3/2, or 701.955 cents).<br />
The melodic elements of Twinkle, Twinkle, Little Star – the English language<br />
nursery rhyme of nineteenth-century English origin, often sung to the tune<br />
of the French melody Ah! vous dirai‑je, Maman (1761), a melody employed in<br />
Wolfgang Amadeus Mozart’s twelve variations for piano KV 265 (1778), as well<br />
as Baa, Baa, Black Sheep and the Alphabet Song – also feature in the work, which<br />
are incorporated via a compositional process structured around tempo canons<br />
(or diminution canons, expressed as polyrhythmic ratios: 4/5/6) and a rhythmic<br />
sequence based on a De Bruijn cycle (0000, 1001, 1010, 1111).<br />
On September 5, 2012, Estrellita has been recognized as the Winner of the<br />
John Cage Centennial Wolf Museum of Music and Art International Toy Piano<br />
Composition Competition for Two Toy Pianos (Lancaster, PA, USA). The judges<br />
of the competition were John Sherlock (Toronto, Canada) and Christian Wolff<br />
(Hanover, New Hampshire, USA). (Andrián Pertout)<br />
1
<strong>Grand</strong> <strong>Auditorium</strong><br />
18:30<br />
Gerhard E. Winkler: Mendelssohn’s Midsummer Nightmare<br />
Mendelssohn’s Midsummer Nightmare was composed by extracting a MIDI-cell<br />
out of the original version for four-hand piano of Mendelssohn’s Overture to<br />
A Midsummer Night’s Dream. This cell was then projected into a dynamic polydimensional<br />
space according to Rene Thoms «Cusp» simulation (as part of his<br />
Catastrophe-Theory), thus generating the score of my piece.<br />
As the projection of the MIDI-cell works in a non-linear way, there are lots of<br />
subtle distortions of the original model. The strange mechanical sounds which<br />
come along by transferring the generally string-attached figurations into the piano-<br />
‹percussion› world by Mendelssohn himself is re-enforced by the transformation<br />
into the sound-world of the toy piano, which also mimicks the ‹elfish›<br />
connotations of the original music.<br />
The structural anamorphic transformations by projecting the MIDI-cell<br />
perceptionally create a nightmarish feeling, where one tries to find solid ground<br />
under the feet but the basics are always in a flowing motion pushing one to<br />
stagger around in a rather helpless way. Maybe Mendelssohn himself felt some-<br />
times nightmared by the success of this special work covering other outputs of his<br />
production. Other and real nightmares came later… (still alive?) (Gerhard E. Winkler)<br />
Maria Kallionpää: Toccata<br />
I have composed the Toccata for two toy pianos and one performer as a study<br />
of the sonic quality of the toy piano and as an experiment of writing a virtuoso<br />
piece for an instrument that is still sometimes regarded as something less serious<br />
than a regular piano. In this work there are two opposite aesthetical poles: there<br />
is a ‹toy› instrument, somewhat innocent in its sound; at the same time the music<br />
is utterly dark and dramatic, circling in its own never ending spheres. One can<br />
perhaps see certain technical and aesthetical relations between the Toccata and my<br />
wind quintet Circular Thoughts which was constructed on an idea of never ending<br />
patterns that are derived from each other but almost never quite the same.<br />
In the Toccata there is almost all the time a constant rhythmical, repetitive pattern<br />
on the second toy piano; the part of the first toy piano is more free, sometimes<br />
just commenting the music with short fragments, sometimes joining to the fast<br />
rhythms of the second toy piano. (Maria Kallionpää)<br />
IIIIIIIIIIIIIIIIIIIIIIIIIIIIIIIIIIIIIIIIIIIIIIIIIIIIIIIIIIIIIIIIIIIIIIIIIIIIIIIIIIIII TOY PIANO CONCERT<br />
18:30 <strong>Grand</strong> <strong>Auditorium</strong><br />
Pascal Meyer, Xenia Pestova toy piano, piano<br />
Jorrit Dijkstra: Native (1992/2012, version for 2 toy pianos,<br />
création / Uraufführung) – 5’<br />
Yu Oda: Behind the Scene for piano and toy piano<br />
(2012, création / Uraufführung) – 5’<br />
Monica Pearce: Chess suite* (2011) – 9’<br />
..........................................................................................................................<br />
Jorrit Dijkstra: Native<br />
Native was written about twenty years ago, and was recorded and played many<br />
times with my jazz trio in those days. Native is inspired by the music of the<br />
Pygmy children in West Africa: beautiful polyphonic vocal lines, over clapping<br />
rhythms. The Pygmies’ music has the unique character of being incredibly<br />
complex, while sounding very down to earth and simple. Native has one element<br />
that makes it un-African: it’s in 5/4 time. This arrangement for two toy pianos<br />
takes the basic song and groove as a starting point, to feature solo sections for<br />
each piano in a call and response form. (Jorrit Dijkstra)<br />
127
128<br />
<strong>Grand</strong> <strong>Auditorium</strong><br />
19:31’57.9864”<br />
Yu Oda: Behind the Scene<br />
The piece Behind the Scene is constructed foreshadowing a lute song from the late<br />
16 th century by John Dowland, «Flow My Tears». Use of the harmony and the<br />
flowing romantic melody of the song functions as a backbone during the writing<br />
process, which allows the composer to deconstruct the materials and to feature the<br />
differences of the piano and the toy piano. While these technical aspects might<br />
appeal the most to the audience, what is most important for the composer is to<br />
reflect his loyalty and passion for the instruments and the original song in the<br />
result… This is a love song! (Yu Oda)<br />
Monica Pearce: Chess Suite<br />
Chess Suite for two toy pianos is a series of musical representations of chess pieces –<br />
the ostentatious knight, the timid pawn, the mysterious bishop, the elegant queen,<br />
the stately rook, and the steadfast king. I was inspired by the way the different<br />
pieces move in constructing the musical material. For instance, the pawn can only<br />
move a step at a time and the music reflects that. I was also interested in pitting<br />
two players against each other in (mock) competition in an analogy to a chess<br />
match. Though I toyed with this idea for several years, I could never find the<br />
appropriate instrumentation until I became enchanted by the microtonal sound<br />
of two toy pianos. In using two toy pianos, I was aiming to capture the lightness<br />
and gravity of play that exists in the game of chess, a game that has many conno-<br />
tations:<br />
«The Geschick of being: a child that plays… Why does it play… It plays, because<br />
it plays. The ‹because› withers away in the play. The play is without ‹why›… it<br />
simply remains a play: the most elevated and the most profound. But this ‹simply›<br />
is everything, the one, the only… the question remains whether and how we,<br />
hearing the movements of this play, play along and accommodate ourselves to<br />
the play.» (Martin Heidegger: The Principle of Reason) (Monica Pearce)<br />
IIIIIIIIIIIIIIIIIIIIIIIIIIIIIIIIIIIIIIIIIIIIIIIIIIIIIIIIIIIIIII TOY PIANO WORKSHOP CONCERT<br />
19:31’57.9864” <strong>Grand</strong> <strong>Auditorium</strong><br />
Étudiants du Conservatoire de la Ville de <strong>Luxembourg</strong> piano, toy piano<br />
Bernd Wiesemann piano, toy piano, direction<br />
John Cage: Winter Music for 1–20 pianos (1957, version pour pianos<br />
et toy pianos) – 20’<br />
En coopération avec le Conservatoire de la Ville de <strong>Luxembourg</strong><br />
..........................................................................................................................<br />
This score consists of 20 unnumbered pages plus title page with performance<br />
instructions. These 20 pages may be used in whole or in part by between 1 and<br />
20 pianists. The performer(s) make(s) a program of a determined time length and<br />
then translates this to the page(s) to be played (with space equating to time). Each<br />
page of the score contains 5 systems, notated on 5 bars. Some pages contain very<br />
few events, while others are brimming. Most events are aggregates of notes to be<br />
played as a single ictus. Dynamics, resonances, overlappings, and interpenetrations<br />
are free. Cage’s composing means involved both chance operations and use of the<br />
imperfections found in the paper upon which the music was written. This work<br />
may be performed with Atlas Eclipticalis or Song Books. (www.johncage.org)
<strong>Grand</strong> <strong>Auditorium</strong><br />
20:00<br />
IIIIIIIIIIIIIIIIIIIIIIIIIIIIIIIIIIIIIIIIIIIIIIIIII TOY PIANO WORKSHOP CONCERT (7–100)<br />
20:00 <strong>Grand</strong> <strong>Auditorium</strong><br />
Étudiants du Conservatoire de la Ville de <strong>Luxembourg</strong> toy piano<br />
Pascal Meyer toy piano, direction<br />
Guy Klucevsek: A Chant for Industrious Angels* (2010/2011–2012) – 2’<br />
Alcides Lanza: aCage [2012‑I] for multiple toy pianos*<br />
(2012, création / Uraufführung) – 3’<br />
Mauro Agliate: I saw Cage out of the cage! Little suite for 10 toy pianos*<br />
(2012, création / Uraufführung) – 9’<br />
Lonely?<br />
C.A.G.E. Fugue…<br />
…‑to the beach<br />
Together!<br />
John Cage: Music for Amplified Toy Pianos (1960) – 5’<br />
En coopération avec le Conservatoire de la Ville de <strong>Luxembourg</strong><br />
..........................................................................................................................<br />
Guy Klucevsek: A Chant for Industrious Angels<br />
The music for Suite from «Industrious Angels» was commissioned by writer/actor/<br />
puppeteer, Laurie McCants, for her one-woman show, «Industrious Angels,»<br />
which was premiered in July of 2011. Laurie McCants’s script was inspired by,<br />
among other things, the life and work of the 19 th century American poet, Emily<br />
Dickinson. The complete 30-minute theatre score consists of cues for piano/<br />
toy piano, violin and accordion. From that, I extracted four pieces, and created<br />
concert versions for solo toy piano. The four pieces may either be performed<br />
together as a suite, in the sequence<br />
1. A Chant for Industrious Angels<br />
2. The Little Note that Others Missed<br />
3. A Little Madness in the Spring<br />
4. The Landscape Listens<br />
…or they may be played independently, as stand-alone pieces.<br />
A Chant for Industrious Angels may be played on two toy pianos in unison, by one<br />
player; it may also be played by a choir of toy pianos (any number), in unison, à<br />
la Gregorian Chant or a church congregation; if using more than four players, a<br />
conductor may be necessary. It may also be played as a solo on grand piano, with<br />
the sostenuto pedal down throughout most of the piece, à la John Cage’s Dream,<br />
letting the harmony arise from the overlapping of melodic notes.<br />
The concert versions of A Chant for Industrious Angels, A Little Madness in the<br />
Spring, and The Landscape Listens were premiered by Isabel Ettenauer in 2010, at<br />
the Festspielhaus Sankt Pölten, Austria. (Guy Klucevsek)<br />
Alcides Lanza: aCage<br />
I have been very fortunate that I got to know John Cage – late 1960s, in Buenos<br />
Aires. I had moved to New York City in 1965, so our friendship developed there<br />
as well. I also coordinated one issue of Revista de Letras, issue dedicated to John<br />
Cage, a publication of the Universidad de Mayaguez in Puerto Rico. Due to<br />
that I treasure a wonderful experience: Cage accepted to do an interview, at his<br />
apartment in NYC, for the above publication. I recorded it and it was included in<br />
the magazine. However, during the interview – extended meeting, 4 or 5 hours –<br />
Cage cooked mushrooms and we ate them accompanied by some Italian wine.<br />
aCage [2012‑1] is a composition for multiple toy pianos. it is also possible for<br />
other suitable instruments to be used, providing the toy pianos will have more<br />
presence within the ensemble. concerning aCage, an important aspect of the<br />
composition is the random control of dynamics, textures and densities as a<br />
129
130<br />
consequence of the multiplicity of instruments with individual players playing<br />
notes or silences. except for the initial and final cueing numbered 1 [to initiate<br />
performance], 2 [common to all, a silent bar to coordinate the final section], 3 [to<br />
initiate upper part of ‹exclamation point›], 4 [for the final dot, last fragment to be<br />
performed], and 5, sudden end of the piece], no other attempt at coordinating the<br />
different parts should be made. it is expected that the score itself allows enough<br />
‹coincidences› of textures, loudness, tonal moments, noises, etc., to achieve a<br />
proper realization of the composer’s ideas. one of the players should be selected<br />
to indicate these cues.<br />
All fragments are inscribed within the large letters C–A–G–E and the final exclama-<br />
tion point. the drawing of the letters comprising Cages’s name was of importance<br />
during the compositional stages and – if projected from a digitized slide during<br />
performance – may have visual value for the audience.<br />
as an hommage to Cage, the score indicates to ‹close piano lid.› this is a reference<br />
to the Cage pieces for voice and closed piano and its percussive effects. since there<br />
may be a variety of different toy pianos used during a performance, some having<br />
no keyboard lid on the instrument, the exact instruction may apply or not. the<br />
performers nevertheless should select 4 areas on the plastic or wooden part of the<br />
instrument, to obtain the required percussive effects using their hands.<br />
As Cage himself has declared, «…using procedures of which the result is unfore-<br />
seeable in the moment of its application» (about Aria, in the liner notes of the<br />
Wergo CD). (Alcides Lanza)<br />
Mauro Agliate: I saw Cage out of the cage!<br />
The work is intended for an ensemble composed of non-professional players with<br />
a limited amount of practice. The most challenging part is assigned to the toy<br />
piano 5, either for the difficulty of the performance and because the musician<br />
has to perform the incipits of each movement and then to propose to the whole<br />
ensemble metronomic correct tempos. For this reason, the execution doesn’t need,<br />
however, a director.<br />
The four movements have to be played in sequence, with no interruptions between<br />
one movement and the other. The first movement provides for the presence of<br />
an executor associated with the toy piano 5. Gradually, with the advance of the<br />
work, the musicians take place, as shown below. Naturally, the players have to sit<br />
down to their stations silently, taking into account the time required to reach the<br />
instruments and take positions, so as to be ready to perform theirs parts at the<br />
appropriate time. (Mauro Agliate)<br />
John Cage: Music for Amplified Toy Pianos<br />
This is a composition indeterminate of its performance. The material consists of<br />
7 sheets of transparent plastic, 2 sheets with points (referring to the keys of rods<br />
of the piano[s]), 2 with circles (piano amplification), 2 with points within circles<br />
(noise), and 1 with a graph and a straight line. The transparencies are super-<br />
imposed to create a single reading, and any number of readings may be made.<br />
In any performance, the toy piano(s) is (are) amplified via contact microphones.<br />
Loudspeakers are distributed around the performance space. (www.johncage.org)
<strong>Grand</strong> <strong>Auditorium</strong><br />
20:30 & 20:45<br />
IIIIIIIIIIIIIIIIIIIIIIIIIIIIIIIIIIIIIIIIIIIIIIIIIIIIIIIIIIIIIIIIIIIIIIIIIIIIIIIIIIIIIIIIIIIIIIIIIIIIIIII CONCERT<br />
20:30 <strong>Grand</strong> <strong>Auditorium</strong><br />
Maurice Clement orgue<br />
John Cage: Some of the Harmony of Maine for organist and assistants<br />
(1985, extraits / Auszüge) – 10’<br />
..........................................................................................................................<br />
Some of the Harmony of Maine is based on the tune book The Harmony of Maine,<br />
published in Boston in 1794 by the American composer and singer Supply<br />
Belcher (1751–1836). He was one of the most prominent (mostly self-taught)<br />
composers of the so-called First New England School and wrote mostly sacred<br />
vocal music for local choirs. Using chance operations, JohnCage determined<br />
whether a note from the original source should stay or be removed, how long it<br />
should sound, and how it should be registered. A complete performance of all<br />
13 parts take about 45 minutes.<br />
IIIIIIIIIIIIIIIIIIIIIIIIIIIIIIIIIIIIIIIIIIIIIIIIIIIIIIIIIIIIIIIIIIIIIIIIIIIIIIIIIIIII TOY PIANO CONCERT<br />
20:45 <strong>Grand</strong> <strong>Auditorium</strong><br />
Phyllis Chen, Isabel Ettenauer, Pascal Meyer, Xenia Pestova,<br />
Margaret Leng Tan, Bernd Wiesemann toy piano<br />
Andreas Weixler: Idem. Minimal music for four toy pianos*<br />
(2012, création / Uraufführung) – 3’<br />
Peter Moran: Beageens for 4 toy pianos (Hommage à Kurtág)* (2010/2011) – 3’<br />
I. Largo<br />
II. Largo<br />
III. Andante<br />
IV. Largo. Seul, pendant un instant (Alone, but for an instant)<br />
V. Andante. Ouvrez la tête (Open the mind)<br />
Chad Martin: Andante Balinese for three toy pianos* (2010) – 5’<br />
..........................................................................................................................<br />
Andreas Weixler: Idem<br />
The piece is part of a series of minimal music for changing instrumentation since<br />
1990, performed by Klangforum Wien, Züricher Ensemble für Neue Musik and<br />
released on CD by Dama Dama. Idem consists of fractions of two whole tone series,<br />
which are shifted by a half tone. Each instrument is just repeating a few notes<br />
and the notes are traveling from one instrumental group to the other. The border<br />
between melody and accompaniment lies in the ear of the listener. (Andreas Weixler)<br />
Peter Moran: Beageens<br />
These tiny pieces were written with children and amateur musicians in mind. The<br />
premiere performances were given earlier this year by the 7-year-old students of<br />
the Conservatoire Frédéric Chopin in Paris. The pieces are intended to suit any<br />
ensemble of instruments, although the delicate quality of the music makes them<br />
especially well-suited to performances on toy pianos. They have been especially<br />
revised and arranged for the Toy Piano World Summit. (Peter Moran)<br />
Chad Martin: Andante Balinese<br />
Andante Balinese was originally conceived as a solo toy piano work for the JunctQin<br />
ensemble. The sound of the toy piano seemed very conducive to creating a sound-<br />
scape inspired by Balinese Gamelan, which I had experienced in a workshop at the<br />
Indonesian Consulate in Toronto. However, the dynamic limitations of the toy<br />
piano reminded me of the harpsichord. To remedy this, I borrowed the baroque<br />
technique of increasing volume by adding more instruments. However, I restricted<br />
myself to only toy pianos as I was intrigued by the challenge of working within the<br />
very small scale of the instrument. Similarly, I limited the tonal material to a five-<br />
note scale used in Gamelan music, which challenged me to experiment with<br />
rhythm, juxtaposing non-traditional time signatures for increased musical interest<br />
and complexity. (Chad Martin)<br />
131
132<br />
<strong>Grand</strong> <strong>Auditorium</strong><br />
21:00 & 21:15<br />
IIIIIIIIIIIIIIIIIIIIIIIIIIIIIIIIIIIIIIIIIIIIIIIIIIIIIIIIIIIIIIIIIIIIIIIIIIIIIIIIIIIII TOY PIANO CONCERT<br />
21:00 <strong>Grand</strong> <strong>Auditorium</strong><br />
Phyllis Chen, Isabel Ettenauer, Pascal Meyer, Xenia Pestova,<br />
Margaret Leng Tan, Bernd Wiesemann piano, toy piano<br />
Se-Lien Chuang, Andreas Weixler: Catch the Beatles, catch the Cage<br />
for 6 toy pianos, 6 i-conductors and video projection<br />
(2012, création / Uraufführung) – 4–6’<br />
John Cage: The Beatles 1962–1970 for six pianos (1989/1990) – 8’<br />
..........................................................................................................................<br />
This piece avails itself of floats of melodies of the Beatles. The chances of playing<br />
the melodic fragments are directed in real time by the hexagram of the I Ching,<br />
designed through digital media. (The I Ching determines which of the players will<br />
perform, each player of the six toy pianos is represented by an I Ching line of the<br />
character chosen by an algorithmic random process.) Each of the selected melodies<br />
possesses an innate mode. In the convergence of the different modes there are<br />
coalescence and fusioned clustering, which will be reinforced by the peculiar<br />
crystal/metallic harmonic structures of the toy pianos and lead to a reciprocal,<br />
imaginary sounding landscape, which, in a reflected way, allegorized the shining<br />
water walk of the Attersee, Austria. The initials of the selected pieces are devoted<br />
to JOHN CAGE. The concept and the video editing are designed by Se-Lien<br />
Chuang. The I Ching associated system is programmed by Andreas Weixler in<br />
Max/MSP/Jitter. (Se-Lien Chuang, Andreas Weixler)<br />
IIIIIIIIIIIIIIIIIIIIIIIIIIIIIIIIIIIIIIIIIIIIIIIIIII PERFORMANCE CONCERT INSTALLATION<br />
21:15 <strong>Grand</strong> <strong>Auditorium</strong><br />
Maurice Clement orgue<br />
John Cage: Organ 2 / ASLSP for solo organ (1987) – 40’<br />
en parallèle / simultan:<br />
Stefan Fricke performance<br />
George Brecht: Drip Music (1959)<br />
..........................................................................................................................<br />
John Cage: Organ 2 / ASLSP<br />
This composition consists, like ASLSP for solo piano (1985), of 8 pieces. Unlike<br />
ASLSP, however, all pieces here should be played. Any of the 8 pieces may be<br />
repeated, and these repetitions may be played subsequent to any of the other pieces.<br />
The published score consists of a title page, brief instructions, and 4 leaves with<br />
music. The title stands for «As Slow(ly) and Soft(ly) as Possible», and also refers to<br />
«Soft morning city. Lsp!» from James Joyce’s Finnegans Wake. (www.johncage.org)<br />
Wie langsam ist «so langsam wie möglich»? Die Tempovorschrift «As SLow<br />
aS Possible» von John Cages Orgelstück Organ 2 / ASLSP stellt diese Frage.<br />
Ausgehend von einem Orgelsymposium in Trossingen 1997 führt die Frage<br />
der Realisierung des Werkes zu dem Ergebnis, dass man «As SLow aS Possible»<br />
potentiell unendlich denken und spielen kann – zumindest so lange, wie die<br />
Lebensdauer einer Orgel ist und so lange, wie es Frieden und Kreativität in<br />
künftigen Generationen gibt. Aus dieser spieltechnischen und ästhetischen Frage<br />
entwickelte sich im Laufe der Zeit ein Projekt, das inzwischen weltweites Aufsehen<br />
erregt hat. In der historischen Burchardikirche in Halberstadt (Deutschland)<br />
wird eine Orgel gebaut, die ausschließlich der Aufführung von Organ 2 / ASLSP<br />
gewidmet ist. Der 89. Geburtstag von John Cage am 05.09.2001 markierte den<br />
Beginn der Aufführung; als erster Klang wurde der Wind aus dem Blasebalg<br />
hörbar. Beim ersten Klangwechsel am 5. Februar 2003 begannen die ersten<br />
drei Pfeifentöne zu klingen. Der 13. und bislang letzte Klangwechsel war am<br />
05.07.2012, der nächste ist für 05.10.2013 geplant. Das Finale der Aufführung ist<br />
für das Jahr 2640 vorgesehen. (www.aslsp.org)
Salle de Musique de Chambre<br />
16:04’57.9861” & 16:15<br />
IIIIIIIIIIIIIIIIIIIIIIIIIIIIIIIIIIIIIIIIIIIIIIIIIIIIIIIIIIIIIIIIIIIIIIIIIIIIIIIIIIIIIIIIIIIIIIIIIIIIIIII CONCERT<br />
16:04’57.9861” Salle de Musique de Chambre<br />
«Cage’s Friends & Enemies I»<br />
ensemble recherche<br />
Åsa Åkerberg violoncelle<br />
Klaus Steffes-Holländer piano<br />
Ludwig van Beethoven: Bagatellen op. 126 N° 3 & N° 4 für Klavier (1824) – 7’<br />
Erik Satie: Désespoir agréable pour piano (1908) – 1’<br />
Anton Webern: Drei kleine Stücke op. 11 für Violoncello und Klavier (1914) – 2’<br />
..........................................................................................................................<br />
«I used to go [to an Anton Webern concert, in the late 1940s] with my hair on<br />
end and sit on the edge of my seat. It was so completely different from anything<br />
I’d ever heard. Of course he cannot compare to Schoenberg. Schoenberg is so<br />
clearly magnificent. Boulez is responsible for the shift to Webern, and I think I<br />
understand why. Schoenberg s music is traditional. It continues the past magnifi-<br />
cently. Whereas Webern seems to break with the past. He gives one the feeling he<br />
could break with the past. For he shook the foundation of sound as discourse in<br />
favor of sound as sound itself. But in Schoenberg the supremacy of pitch relations<br />
remains. And so he was really tied to an earlier time. In Satie [by contrast], the<br />
structures have to do with time, not pitch. Virgil Thomson introduced me to Satie<br />
just at the time I first heard Webern. I connected the two composers in my mind.»<br />
John Cage (1976, in an interview with Joan Peyser.– Richard Kostelanetz: Conversing with Cage. –<br />
New York: Routledge, 2003. – p. 46)<br />
(For Cage’s view on Beethoven, Satie’s Choses vues à droite et à gauche, and Webern’s<br />
op. 11, cf. John Cage: «Defense of Satie», p. 29–33 in this catalogue.)<br />
IIIIIIIIIIIIIIIIIIIIIIIIIIIIIIIIIIIIIIIIIIIIIIIIIIIIIIIIIIIIIIIIIIIIIIIIIIIIIIIIIIIIIIIIIIIIIIIIIIIIIIII CONCERT<br />
16:15 Salle de Musique de Chambre<br />
«Cage’s Friends & Enemies II»<br />
ensemble recherche<br />
Melise Mellinger violon<br />
Barbara Maurer alto<br />
Åsa Åkerberg violoncelle<br />
Klaus Steffes-Holländer piano<br />
Ludwig van Beethoven: Duo für Viola und Violoncello Es‑Dur WoO 32<br />
(«Duett mit zwei obligaten Augengläsern») für Viola und Violoncello<br />
(~1795–1798) – 10’<br />
Allegro<br />
Minuetto: Allegretto – Trio<br />
Erik Satie: Choses vues à droite et à gauche (sans lunettes)<br />
pour violon et piano (1914) – 6’<br />
N° 1: Choral hypocrite<br />
N° 2: Fugue à tâtons<br />
N° 3: Fantaisie musculaire<br />
..........................................................................................................................<br />
«I gave one long lecture, in which I denounced Beethoven, the peak of German<br />
music. And that was necessary to do, from Satie’s point of view, because<br />
Satie himself spoke against Beethoven. So I pointed out to the Germans that<br />
Beethoven’s music was a mistake fundamentally, and that Satie’s music was<br />
correct. The reason is that Beethoven’s music is based on a marriage of form<br />
and content, involving beginnings, ends and middles, and all kinds of ideas and<br />
expressions of individual feeling that have nothing whatsoever to do with sounds,<br />
whereas Satie’s music is essentially based upon an empty space of time, in which<br />
one thing or another could happen. There is no other way to explain some of<br />
the pieces he wrote around 1912, which simply don’t do any of the things that<br />
133
134<br />
Salle de Musique de Chambre<br />
16:33’59½”<br />
German music told everyone that music should do. From Satie’s point of view, all<br />
that he was doing was getting rid of sauerkraut.»<br />
John Cage (1973, in an interview with Robert Cordier.– Richard Kostelanetz: Conversing with Cage. –<br />
New York: Routledge, 2003. – p. 49)<br />
(For the mentioned ‹long lecture› concerning Cage’s view on Beethoven, Satie’s<br />
Choses vue à droite et à gauche, and Webern’s op. 11, cf. John Cage: «Defense of Satie»,<br />
p. 29–33 in this catalogue.)<br />
IIIIIIIIIIIIIIIIIIIIIIIIIIIIIIIIIIIIIIIIIIIIIIIIIIIIIIIIIIIIIIIIIIIIIIIIIIIIIIIIIIIIIIIIIIIIIIIIIIIIIIII CONCERT<br />
16:33’59½” Salle de Musique de Chambre<br />
«Cage’s Friends & Enemies III»<br />
ensemble recherche<br />
Åsa Åkerberg violoncelle<br />
Martin Fahlenbock flûte<br />
Jaime González hautbois<br />
Shizuyo Oka clarinette<br />
Christian Wolff: Cello Song Variations («Hallelujah I’m a Bum») (1980) – ~10’<br />
Morton Feldman: Projection 1 for cello solo (1950) – 3’<br />
James Tenney: Trio for flute, oboe and clarinet (1957) – ~6’<br />
..........................................................................................................................<br />
Mystery has surrounded the personality of Morton Feldman, whose importance is<br />
close to that of Cage in American new music. Now [1966] in his early forties, he<br />
is known for a large number of very quiet compositions where the music quivers<br />
delicately on the borderline between sound and silence, and for some original<br />
types of notation which operate between the player and the notes he plays. Feldman<br />
was born in New York, where he has spent most of his life, and as a child was<br />
taught to play the piano by Madame Maurina-Press who had known Scriabin and<br />
Busoni and who introduced him to their work. Later Feldman studied with Walling-<br />
ford Riegger and Stefan Wolpe, both 12-tone composers although the former was<br />
more permissive than the latter, with whom Feldman came into sharp conflict.<br />
He never found any real agreement with his aims until he met Cage in 1950.<br />
Ironically, both composers were leaving a New York Philharmonic concert after<br />
hearing Webern’s Symphony op. 21. The work had not been well received, which<br />
dismayed them, and they naturally wanted to leave the hall before the next item<br />
on the programme, which was by Rachmaninov. From this time onwards Cage<br />
and Feldman met almost daily and their circle soon included David Tudor, the<br />
outstanding pianist for new music of various persuasions, Christian Wolff and<br />
Earle Brown. In this atmosphere composers and painters lived at the frontiers of<br />
a new world. Feldman developed his graph notation and Cage was introduced to<br />
the ancient Chinese Book of Changes and its charts for obtaining oracles which he<br />
used in composing. (Peter Dickinson,1966, «Feldman explains himself», Music and Musicians)<br />
On a spring evening in 1951, a budding 16-year-old pianist with an interest in<br />
engineering went to hear John Cage play one of his most famous pieces, the<br />
Sonatas and Interludes for prepared piano, at the Women’s Club <strong>Auditorium</strong> in<br />
Denver. «The concert blew me away,» James Tenney says, seated at a prepared<br />
piano in his studio at CalArts, as he demonstrates the exquisite clinks, plinks and<br />
thuds that Cage produced by wedging bolts or bits of rubber or plastic between<br />
the strings of the piano. In fact, that concert helped propel Tenney, one of<br />
America’s most important experimental composers, into a career that has included<br />
pioneering work in computer music and collaborations with Cage. Tenney is also<br />
a formidable pianist. (Mark Swed: «A Piano Piece’s Nuts and Bolts», 2002)
Salle de Musique de Chambre<br />
17:00 & 17:30<br />
IIIIIIIIIIIIIIIIIIIIIIIIIIIIIIIIIIIIIIIIIIIIIIIIIIIIIIIIIIIIIIIIIIIIII WORKSHOP CONCERT (7–100)<br />
17:00 Salle de Musique de Chambre<br />
«A Dip in the Lake»<br />
Les Lions Bleus Bonnevoie (Scouten a Guiden vun der FNEL)<br />
Anne Kaiffer présentation (L)<br />
John Cage: A Dip in the Lake. Ten Quicksteps, Sixty‑One Waltzes and<br />
Fifty‑Six Marches for Chicago and Vicinity for performer(s), or listener(s),<br />
or record maker(s) (1978) – ~15’<br />
Coopération avec Les Lions Bleus Bonnevoie<br />
..........................................................................................................................<br />
A Dip in the Lake konzipierte John Cage für Chicago und Umgebung, die Partitur<br />
enthält jedoch eine Anleitung zur Übertragung auf andere Städte: 427 Adressen sind<br />
per Zufall festzulegen und anschließend ebenso zufällig in 10 Gruppen von je 2,<br />
61 Gruppen von 3 und 56 Gruppen von 4 Adressen zu ordnen. Das entspricht<br />
10 Quicksteps im 2/4-Takt, 61 Walzern im 3/4-Takt und 56 Märschen im 4/4-Takt.<br />
An jedem der 427 Orte sollen jeweils die dort angetroffenen Klänge angehört oder<br />
aufgenommen werden, man kann aber wahlweise dort auch etwas aufführen.<br />
Ähnlich wie bei dem ein Jahr vorher entstandenen New-York-Stück Forty‑Nine<br />
Waltzes for the Five Boroughs lässt sich auf Basis von A Dip in the Lake also eine Art<br />
Stadtplan oder Wanderkarte herstellen, die einen präzise gebauten Handlungs-<br />
rahmen mit dem kompletten Zufall verbindet. (Der Titel des Stücks deutet an, dass<br />
in Chicago einige der zufällig bestimmten Punkte in den Michigan-See fielen.)<br />
Die Luxemburger Pfadfindergruppe Les Lions Bleus Bonnevoie hat für das Festival<br />
rainy days 2012 – mit Hilfe von Stadtplänen, Dartpfeilen, Wanderschuhen, MP3-<br />
Rekordern u.v.a. – quer durch alle Altersgruppen im November 2012 eine Version<br />
von A Dip in the Lake für die und in der Stadt Luxemburg realisiert. (Bernhard Günther)<br />
IIIIIIIIIIIIIIIIIIIIIIIIIIIIIIIIIIIIIIIIIIIIIIIIIIIIIIIIIIIIIIIIIIIIIIIII TOY PIANO CONCERT (7–100)<br />
17:30 Salle de Musique de Chambre<br />
«Through the Silence»<br />
A John Cage birthday homage II<br />
Margaret Leng Tan toy piano<br />
John Cage:<br />
Suite for Toy Piano (1948) – 8’<br />
4’33” (1952)<br />
Extended Lullaby (1992–1994, version for multiple toy pianos,<br />
arr. Margaret Leng Tan) – 6’<br />
..........................................................................................................................<br />
John Cage: Suite for Toy Piano<br />
Written for Merce Cunningham’s dance, Diversion, the Suite for Toy Piano is<br />
the first-ever serious composition created for the toy instrument. Its five short<br />
movements use only nine consecutive white notes and can ostensibly be<br />
performed on any toy piano, perhaps even one with painted black keys. One of<br />
the most charming and whimsical of Cage’s compositions, the Suite is filled with<br />
Cagean irony and humor as in the exaggerated dynamic extremes from sffz to ppp.<br />
As if a toy piano could have such capabilities! Nevertheless, the pianist tries his<br />
best and from the effort subtle differences do emerge. (Margaret Leng Tan)<br />
John Cage: 4’33”<br />
«There is no such thing as an empty space or an empty time. There is always<br />
something to see, something to hear. In fact, try as we may to make a silence, we<br />
cannot. Sounds occur whether intended or not.»<br />
«Life goes on very well without me, and that will explain to you my silent piece,<br />
4’33” … One need not fear for the future of music.» (John Cage: Silence)<br />
135
Margaret Leng Tan<br />
and John Cage<br />
(photo: George Hirose)<br />
136<br />
Salle de Musique de Chambre<br />
18:00<br />
John Cage: Extended Lullaby<br />
One of Cage’s last works, Extended Lullaby (1992), was executed posthumously<br />
in 1994 as a musical sculpture of acrylic, spruce brass, and twelve 36-note Reuge<br />
music box mechanisms mounted adjacent to each other. The encircling acrylic<br />
tunnel serves as a modest resonating chamber. The dimensions of the piece are<br />
17.8 x 182.9 x 12.7 cm. Extended Lullaby was produced in an edition of ten, one<br />
of which, belonging to the John Cage Trust, will be on exhibit at the Musée d’art<br />
contemporain de Lyon in a show entirely dedicated to works by John Cage that<br />
engage with the French composer, Erik Satie (September 28–December 30, 2012).<br />
The melody heard on the music boxes is a re-working of the cantus firmus and<br />
counterpoint of Erik Satie’s Vexations. Hence its chromatic, modal nature.<br />
Activated at random intervals the twelve unsynchronized music boxes, playing<br />
at different speeds, make for a delightful chaos that dissipates as the mechanisms<br />
peter out.<br />
I have made a performance version of Extended Lullaby wherein I play one toy<br />
piano live against eleven pre-recorded tracks. I chose a toy piano closest in timbral<br />
quality to a music box… sweetly beguiling, yet faintly disquieting at the same time.<br />
(Margaret Leng Tan)<br />
IIIIIIIIIIIIIIIIIIIIIIIIIIIIIIIIIIIIIIIIIIIIIIIIIIIIIIIIIIIIIIIIIIIIIIIIIIIIIIIII PERFORMANCE (7–100)<br />
18:00 Salle de Musique de Chambre<br />
«Das Jahr des fließenden Nichts»<br />
1962 – Fluxus & 0’00”<br />
ensemble recherche<br />
Melise Mellinger violon<br />
Barbara Maurer alto<br />
Åsa Åkerberg violoncelle<br />
Martin Fahlenbock flûte<br />
Jaime González hautbois<br />
Shizuyo Oka clarinette<br />
Klaus Steffes-Holländer piano<br />
Karlheinz Essl, Stefan Fricke, Bernhard Günther, Bernhard Lang, Gerhard<br />
Stäbler, Kunsu Shim, Olivier Sliepen, Guy Frisch performance<br />
Takehisa Kosugi: Distance for piano (to David Tudor) (1965) – 3’<br />
Dick Higgins: Solo für Blasinstrumente (1963) – 3’<br />
George Brecht: Solo for violin, viola, cello or contrabass (1962) – 3’<br />
John Cage: 0’00” (4’33” N° 2). Solo to be performed in any way by anyone<br />
(1962) – 20’<br />
..........................................................................................................................<br />
FLUXUS EST:<br />
UNE ATTITUDE ENVERS L’ART<br />
POUR L’IMPORTANCE DE LA NON IMPORTANCE<br />
LES DÉTAILS DE LA VIE<br />
LE SEUL MOUVEMENT ARTISTIQUE CAPABLE DE MANGER SA QUEUE<br />
PLUS IMPORTANT QUE CE QUE VOUS CROYEZ<br />
MOINS IMPORTANT QUE CE QUE VOUS CROYEZ<br />
DE RATER UN SPECTACLE<br />
DE LIRE LE JOURNAL D’UN AUTRE À TRAVERS UN TROU FAIT DANS LE SIEN<br />
DE S’ENDORMIR ET RONFLER LORS D’UN CONCERT DE STOCKHAUSEN<br />
DE JETER 20 LITRES D’HUILE SUR LA SCENE DE «GISÈLE»<br />
VOSTELL LORSQU’IL EXPLIQUE L’HISTOIRE DE L’ART<br />
GEORGE BRECHT QUAND IL ÉVITE L’HISTOIRE DE L’ART<br />
LE TOUT POSSIBLE<br />
L’ART-D’ATTITUDE<br />
L’ANTI-ART<br />
VICE-ART
LE MAIL-ART<br />
LES CONCERTS<br />
LE NON-ART<br />
L’ACTION-MUSIQUE<br />
L’IDEE<br />
LE GAG<br />
L’EVENT<br />
LA THEORIE<br />
Ben Vautier<br />
I would say that the ‹art of performance› began with Fluxus – a theater without<br />
text but which could include text or other elements as well. There is a deep<br />
relation between Fluxus and Antonin Artaud. Isn’t there? Not enough has been<br />
said about this.<br />
John Cage (1982, in an interview with Serge Daney and Jean-Paul Fargier. – Richard Kostelanetz:<br />
Conversing with Cage. – New York: Routledge, 2003. – p. 105)<br />
Fluxus is not a moment in history, or an art movement.<br />
Fluxus is a way of doing things, a tradition, and a way of life and death. (Dick Higgins)<br />
Whether you think that concert halls, theaters, and art galleries are the natural<br />
places to present music, performances, and objects, or find these places mummi-<br />
fying, preferring streets, homes, and railway stations, or do not find it useful to<br />
distinguish between these two aspects of the world theater, there is someone<br />
associated with Fluxus who agrees with you. Artist, anti-artists, non-artists, anartists,<br />
the politically committed and the apolitical, poets of non-poetry, non-dancers<br />
dancing, doers, undoers, and non-doers, Fluxus encompasses opposites. Consider<br />
opposing it, supporting it, ignoring it, changing your mind. (George Brecht)<br />
In der Vergangenheit haben die meisten Leute gemeint, nicht zu wissen, was Fluxus<br />
ist. Sie täuschten sich. Nun beginnen schon einige Leute zu sagen, sie wissen ganz<br />
genau, was Fluxus ist. Die täuschen sich natürlich genauso. Jedenfalls wird es bald<br />
dreizehn Leute auf der ganzen Welt geben, die als echte Fluxusspezialisten gelten.<br />
Gott steh’ uns bei, wenn die’s dann herauskriegen. (Ben Patterson)<br />
Sicher, die Fluxusgruppe setzt sich aus sehr verschiedenen Individuen zusammen,<br />
sowohl was die Personen als auch ihre Arbeit betrifft, doch die menschliche<br />
Annäherung aller ist gefühlsmäßig dieselbe, nämlich hart zu kämpfen gegen<br />
die immense Einfalt, Traurigkeit und den Mangel an Einsicht für das, was unser<br />
Leben angeht, eine Welt zu begründen, in welcher die Spontaneität, die Freude,<br />
der Humor, und – warum nicht! – eine neue Art von höherer Weisheit (viele von<br />
uns sind durch den buddhistischen Zen beeindruckt worden), eine wahrhaftige<br />
Gerechtigkeit, wahrhaftiges soziales Wohlbefinden (die Mehrheit von uns steht<br />
politisch links) ebenso selbstverständlich werden, wie das Grün der Augen meiner<br />
Frau für mich ist. (George Brecht)<br />
Fluxus hat überhaupt keinen Sinn. (Eric Andersen)<br />
John Cage: 0’00”<br />
Just briefly, 0’00”, which is about two years old now [1965], is nothing but the<br />
continuation of one’s daily work, whatever it is, providing it’s not selfish, but is<br />
the fulfillment of an obligation to other people, done with contact microphones,<br />
without any notion of concert or theater or the public, but simply continuing<br />
one’s daily work, now coming out through loudspeakers. What the piece tries to<br />
say is that everything we do is music, or can become music through the use of<br />
microphones; so that everything I’m doing, apart from what I’m saying, produces<br />
sound. When the sounds are very quiet, they become loud through the use of<br />
microphones. And I may not do again in performance what I did once before.<br />
John Cage (1965, in an interview with Lars Gunnar Bodin and Bengt Emil Johnson. – Richard Kostelanetz:<br />
Conversing with Cage. – New York: Routledge, 2003. – p. 69)<br />
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Salle de Musique de Chambre<br />
18:30 & 18:45<br />
IIIIIIIIIIIIIIIIIIIIIIIIIIIIIIIIIIIIIIIIIIIIIIIIIIIIIIIII DIY PERFORMANCE CONCERT (7–100)<br />
18:30 Salle de Musique de Chambre<br />
«Das Publikum komponiert II»<br />
Kunsu Shim, Gerhard Stäbler performance, présentation (D)<br />
Olivier Sliepen saxophone<br />
Guy Frisch percussion<br />
Gerhard Stäbler: JC/NY für 3, 4, 5 oder 7 Spieler (1992) – 7´<br />
Kunsu Shim: Pièce Japonaise mit Publikum (2008) – 5’<br />
Kunsu Shim: g’espresso. Extrakt aus Kompostionen Gerhard Stäblers<br />
für Tonband (2006) – 1´<br />
en parallèle / simultan:<br />
Gerhard Stäbler: EarPlugs für Publikum (1999)<br />
(voir /siehe Salle de Musique de Chambre 18:45)<br />
IIIIIIIIIIIIIIIIIIIIIIIIIIIIIIIIIIIIIIIIIIIIIIIIIIIIIIIII DIY PERFORMANCE CONCERT (7–100)<br />
18:45 Salle de Musique de Chambre<br />
«Das Publikum komponiert III»<br />
Kunsu Shim, Gerhard Stäbler performance, présentation (D)<br />
Olivier Sliepen saxophone<br />
Guy Frisch percussion<br />
Kunsu Shim: participation. Eine kollektive Komposition mit dem Publikum<br />
(2009/2012, création / Uraufführung) – 10’<br />
..........................................................................................................................<br />
My old Monotone Symphony of 1949, which was performed under my direction, by a<br />
small orchestra on March 9, 1960, was destined to create an «after‑silence» after all sounds<br />
had ended in each of us who were present at that manifestation.<br />
Silence… This is really my symphony and not the sounds during its performance. This<br />
silence is so marvelous because it grants «happenstance» and even sometimes the possibility of<br />
true happiness, if only for only a moment, for a moment whose duration is immeasurable.<br />
(Yves Klein: Truth Becomes Reality)<br />
Mit einer Pause beendet J.S. Bach in seiner um 1720 entstandenen Orgelfantasie<br />
g‑moll eine andauernde Modulation in entfernte Tonarten, um dann mit einem<br />
enharmonisch umgedeuteten Akkord fortzufahren und in die Grundtonart zurück<br />
zu torkeln… Eine Pause als eine kurze, aufgeladene Stille, eine Stille, die nur<br />
scheinbar still ist, weil sie das weitere – unmögliche? – Geschehen in den Kopf des<br />
Hörers verlagert.<br />
John Cage setzt ihr, der Stille?, in seiner vielzitierten dreisätzigen Komposition<br />
4’33” einen Rahmen: und nichts ist still! Denn absolute Stille, die nur in einem<br />
vollständig gedämmten Raum möglich wäre, bedeutete Tod. In dieser «Stille» gibt<br />
Cage das weitere «Zusammensetzen» von Klängen, das «Komponieren» (auch) an<br />
den Hörer weiter… Doch anders als bei Bachs musik-immanentem Vorgang kann<br />
man hier Dinge tatsächlich hören: sich selbst, die Mit-Hörenden, den Raum, das<br />
Draußen. Cages «Stille» gibt Raum zu hören…<br />
Kunsu Shim schenkt in participation ein weißes Blatt: Was ist zu tun? Eine oft<br />
langwierige Frage von Künstlern – Poeten, Malern, Komponisten – und nun<br />
auch des Publikums: Was notiere ich? Schreibe ich auf, was ich schon hörte?<br />
Formuliere, was an inneren Klängen in mir steckt? Setze ich Akzente? Zeichne<br />
Klangkonturen? Träume Klänge? – Doch wie schreibe ich meine Gedanken und<br />
Vorstellungen auf, um sie anderen, den Interpreten, verständlich zu machen?<br />
Mit Noten? Mit Zeichen? Mit Worten, Geschichten, Bildern?<br />
Überhaupt laden die Performances von Kunsu Shim und Gerhard Stäbler<br />
das Publikum ein, auf unterschiedliche Art Teil des Geschehens zu sein: Als
Salle de Musique de Chambre<br />
19:00 & 19:45<br />
«Komponist» wie in participation, als «Instrument» wie in EarPlugs, als «Interpret»<br />
wie z.B. in positive spaces oder Pièces Japonaise und natürlich als «Hörer» und<br />
«Zuschauer» mitten drin – in einer alltäglichen und dennoch künstlerischen<br />
Klangwelt.<br />
Hören / Sehen ist Erleben – als das Mögliche, bei sich zu sein und gleichzeitig bei<br />
anderen. (Gerhard Stäbler)<br />
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19:00 Salle de Musique de Chambre<br />
«Songs of irrelevance and passion II»<br />
cantoLX<br />
Lilith Verhelst soprano<br />
Marivi Blasco soprano<br />
Jonathan Deceuster contreténor<br />
Peter de Laurentiis ténor<br />
Jean-Paul Majerus basse<br />
Frank Agsteribbe clavecin, direction<br />
Girolamo Frescobaldi: Primo Libro d’Arie Musicali (1630)<br />
«Voi partite mio sole». Aria<br />
«Non mi negate ohime». Aria a voce sola<br />
«Donna, siam rei di morte». Sonetto<br />
John Cage: Song Books for solo voice (1970)<br />
Solo for voice N° 30 (extraits / Auszüge) & Solo for voice N° 34<br />
Girolamo Frescobaldi: Primo Libro d’Arie Musicali (1630)<br />
«Se l’aura spira». Aria<br />
«Dopo si lungo error». Canto spirituale in stile recitativo<br />
John Cage: Song Books for solo voice (1970)<br />
Solo for voice N° 53: Aria N° 2B<br />
Girolamo Frescobaldi: Primo Libro d’Arie Musicali (1630)<br />
«Se m’amate io v’adoro». Madrigale a due voci<br />
20’<br />
..........................................................................................................................<br />
(voir / siehe <strong>Grand</strong> <strong>Auditorium</strong> 16:00)<br />
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19:45 Salle de Musique de Chambre<br />
«Revolution I»<br />
The New World Theatre Club<br />
Chris Wilson mise en scène<br />
Les Wilson light, sound, projection<br />
John Cage: Lecture on the weather (1975)<br />
For twelve speaker-vocalists (or instrumentalists), perferably American men<br />
who have become Canadian citizens, each using his own sound system,<br />
each sound system given an equalization distinguishing it from the others.<br />
Materials for an unconducted radio broadcast or theatrical performance:<br />
recordings of breeze, rain and thunder; film representing lightning by<br />
means of briefly projected negatives of drawings by Thoreau, and a preface.<br />
Recordings by Maryanne Amacher. Film by Luis Frangella.<br />
32’45” (=10’ + 5 x 4’33”)<br />
..........................................................................................................................<br />
This work was composed in collaboration with Luis Frangella, who produced its<br />
film, and Maryanne Amacher, who produced its weather sounds on tape, which<br />
were mixed live in performance. The performance begins with a reading of Cage’s<br />
preface (in Cage’s own voice). In it, he expresses dismay with the institutions<br />
of American government. The work then commences with (originally) 12 men<br />
reading text fragments drawn from the writings by Henry David Thoreau; they<br />
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Salle de Musique de Chambre<br />
20:45 & 21:00<br />
may also play instruments (ad lib.), guided by graphic notation derived from<br />
snippets of drawings obtains from Thoreau’s Journals. In part 1, this is accompanied<br />
by sounds of breeze, in part 2 by sounds of rain. In the third and final part, the<br />
lights in the performance space have dimmed to their darkest point, and the<br />
performers are accompanied by both Frangella’s film and the sounds of thunder.<br />
The film consists of fragments of Thoreau’s drawings, printed in negative, the<br />
projection of which resemble lightning at night (or white on black). The performers<br />
agree ahead of time on a total duration of the work (between 5 to 8 periods of<br />
4’33” each). Every performer creates a unique program of starts and stops, covering<br />
the duration of the composition. The work was composed on a commission from<br />
the Canadian Broadcasting Corporation in observance of the bicentennial of the<br />
United States of America. (www.johncage.org)<br />
In his preface to Lecture on the Weather John Cage says: «I have wanted in this work<br />
to give another opportunity for us, whether of one nation or another, to examine<br />
again ourselves both as individuals and as members of society…». What better<br />
aspiration could we have in mind when approaching our performance of this<br />
composition. (Chris Wilson)<br />
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20:45 Salle de Musique de Chambre<br />
«Das Publikum hört sich zu I»<br />
Kunsu Shim, Gerhard Stäbler performance<br />
Olivier Sliepen saxophone<br />
Guy Frisch percussion<br />
Kunsu Shim: Ex·Position (Nachtrufe) für eine beliebige Anzahl von Spielern<br />
(2012)<br />
en parallèle / simultan:<br />
happy for no reason für Ensemble (2000)<br />
en parallèle / simultan:<br />
ich bin wo ich sein möchte für einen Pianisten, zwei Performer und Publikum<br />
(2007)<br />
..........................................................................................................................<br />
(voir /siehe Salle de Musique de Chambre 18:45)<br />
IIIIIIIIIIIIIIIIIIIIIIIIIIIIIIIIIIIIIIIIIIIIIIIIIIIIIIIIIIIIIIIIIIIIIIIIIIII CONCERT PERFORMANCE<br />
21:00 Salle de Musique de Chambre<br />
«Das Publikum hört sich zu II»<br />
Kunsu Shim, Gerhard Stäbler performance<br />
Olivier Sliepen saxophone<br />
Guy Frisch percussion<br />
Gerhard Stäbler: …leaving the gold… für Stimme, Klavier und fünf CD-Player<br />
(2004)<br />
en parallèle / simultan:<br />
Kunsu Shim: soft speaker für einen Performer mit einem Mikrophon und<br />
Lautsprecher (2001)<br />
en parallèle / simultan:<br />
Gerhard Stäbler: hyacinth – liquid, scents für Schlagzeug (1997)<br />
en parallèle / simultan:<br />
Kunsu Shim: Flower Fist. KlangAktion für einen Performer (2009)<br />
..........................................................................................................................<br />
(voir /siehe Salle de Musique de Chambre 18:45)
Salle de Musique de Chambre<br />
21:18’31.729” & 21:30<br />
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21:18’31.729” Salle de Musique de Chambre<br />
«Zen II»<br />
ensemble recherche<br />
Martin Fahlenbock flûte<br />
Jaime González hautbois<br />
Shizuyo Oka clarinette<br />
Walter Zimmermann: Shadows of cold mountain N° 3<br />
für Flöte, Oboe und Klarinette (1997) – 11’<br />
..........................................................................................................................<br />
Morton Feldman bekam einst eine Zeichnung eines Malerfreundes geschenkt, zu<br />
einer Zeit als dessen Berühmtheit und Marktwert noch in den Anfängen steckte.<br />
Als dieser den Zenith seines Ruhms erreicht hatte, holte Feldman die Zeichnung<br />
wieder hervor, und siehe – die Striche auf dem Papier waren verloschen.<br />
Die drei Stücke Shadows of Cold Mountain (N° 1 von 1993 ist für 3 Tenorblock-<br />
flöten, N° 2 von 1995 für Violine, Klavier, Bandoneon und 2 analoge Sinusgenera-<br />
toren) basieren auf den kalligraphischen Bildern von Brice Marden. Das Stück<br />
N° 3 übersetzt die gestisch-kalligraphischen Liniengeflechte von Brice Marden<br />
in Klang. Was dort freiheitlicher Ausdruck einer losen, weiten und schweifenden<br />
Linienfolge ist, wird hier zum Grenzgang. Flöte, Oboe und Klarinette sind nicht<br />
für Grenzenloses gebaut, jede Freiheit kommt in Konflikt mit der Mechanik.<br />
Die schweifende Linie wird strengstes Abmühen. So weit können Malerei und<br />
Musik auseinander liegen. Jedoch trifft sich Farbwelt und Tonweit, jenseits dieser<br />
Anstrengung, in Mannigfaltigkeit der Verbindungen der sekundären Klangprozesse<br />
der Interferenztöne und Differenztöne. Die primäre Gestik des Malens wird hier<br />
erst in der sekundären Klangebene wahrnehmbar. (Walter Zimmermann)<br />
IIIIIIIIIIIIIIIIIIIIIIIIIIIIIIIIIIIIIIIIIIIIIIIIIIIIIIIIIIIIIIIIIIIIIIIIIIIIIIIIIIIIIIIIIIIIIIIIIIIIIIII CONCERT<br />
21:30 Salle de Musique de Chambre<br />
«Zen III»<br />
ensemble recherche<br />
Åsa Åkerberg violoncelle<br />
Jaime González hautbois<br />
Shizuyo Oka clarinette<br />
Christian Dierstein percussion<br />
Klaus Steffes-Holländer piano<br />
Karlheinz Stockhausen: Aus den Sieben Tagen oder Für kommende Zeiten<br />
(1968–1970) (Version für Violoncello, Oboe, Klarinette, Klavier,<br />
Schlagwerk) – 10’<br />
..........................................................................................................................<br />
Im Werkverzeichnis ist unter der Nummer 33 eingetragen: Für kommende Zeiten.<br />
Die 1976 in Stockhausens eigenem Verlag publizierte erste Ausgabe enthält<br />
17 Texte für intuitive Musik. Die Texte tragen musikalische Begriffe als Titel,<br />
wie Intervall oder Schwingung, sind aber auch überschrieben mit Namen von<br />
Ländern, deren Kultur sich Stockhausen verbunden fühlte, wie Japan oder Ceylon.<br />
Dazu findet sich noch frei Assoziatives wie Über die Grenze oder Zugvogel. Einen<br />
Einführungstext dazu soll es der Idee entsprechend nicht geben. (Sabine Franz)<br />
141
142<br />
Salle de Musique de Chambre<br />
21:43’08.1292”<br />
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21:43’08.1292” Salle de Musique de Chambre<br />
«Zen IV»<br />
ensemble recherche<br />
Melise Mellinger violon<br />
Barbara Maurer alto<br />
Åsa Åkerberg violoncelle<br />
Martin Fahlenbock flûte<br />
Jaime González hautbois<br />
Shizuyo Oka clarinette<br />
Christian Dierstein percussion<br />
Klaus Steffes-Holländer piano<br />
Jo Kondo: Holzwege (2008) – 8’<br />
La Monte Young: 337 (to Henry Flynt) (April 1960) – 8’<br />
..........................................................................................................................<br />
Jo Kondo: Holzwege<br />
Seit über drei Jahrzehnten interessiert mich lineare Musik. Während meine<br />
früheren Stücke durch eine einzelne Tonlinie bestimmt werden, ist die Linearität<br />
in meinen jüngeren Arbeiten weniger offensichtlich; dennoch handelt es sich um<br />
eine Erweiterung (oder Entwicklung) desselben Konzeptes.<br />
Als ich dieses Stück komponierte, las ich Martin Heideggers berühmtes Buch<br />
Holzwege (in der japanischen Übersetzung) – daher der Titel. Dies ist die einzige<br />
Verbindung zu dem Buch, es gibt keinerlei inhaltliche oder strukturelle Bezie-<br />
hungen. Holzwege ist einfach ein Name für dieses Stück abstrakter Musik. Aller-<br />
dings ist dies nicht das Ende der Geschichte: Ich habe die umgangssprachliche<br />
Bedeutung des Wortes erfahren, und das hat mir sehr gut gefallen, da mein<br />
Kompositionsstil und Denken außerhalb des Mainstreams der zeitgenössischen<br />
Musikszene stehen. Es freut mich, auf meinem eigenen Holzweg zu sein. Daher<br />
ist Holzwege der perfekte Titel. (Jo Kondo)<br />
La Monte Young: 0–1698 (April 1960) to Henry Flynt<br />
The title of each performance is determined by the number of bangs in that<br />
particular performance. […] The title should be printed on the program in Arabic<br />
numerals (not written out in words). The piece is dedicated to Henry Flynt & this<br />
should be indicated on the program as well as the date of composition (April 1960).<br />
(La Monte Young)
Espace Découverte<br />
16:30, 16:45, 17:00 & 17:15<br />
IIIIIIIIIIIIIIIIIIIIIIIIIIIIIIIIIIIIIIIIIIIIIIIIIIIIIIIIIIIIIIII PERFORMANCE CONCERT (7–100)<br />
16:30 Espace Découverte<br />
«Cages Enkel I»<br />
The Experimental Music Yearbook<br />
Lucia Mense flûtes à bec<br />
Seth Josel guitares<br />
Anton Lukoszevieze violoncelle<br />
Frank Gratkowski clarinettes, saxophones<br />
Hans W. Koch live electronics, objets, direction<br />
Hans W. Koch: e.t. (l.a.) for five people moving with their laptops (2010–2011) – 5’<br />
Cat Lamb: line/shadow for open instrumentation (2011) – 8’<br />
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16:45 Espace Découverte<br />
«Cages Enkel II»<br />
The Experimental Music Yearbook<br />
Michael Pisaro: Harmony Series. 34 pieces for a varying number of<br />
performers (2004–2005)<br />
N° 14: A single charm is doubtful [Gertrude Stein]<br />
for four sustaining instruments – 13’<br />
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17:00 Espace Découverte<br />
«Cages Enkel III»<br />
The Experimental Music Yearbook<br />
Michael Winter: Small World (2009) – 7’<br />
Scott Cazan: Outliers for any number of players and computer (2010) – 7’<br />
IIIIIIIIIIIIIIIIIIIIIIIIIIIIIIIIIIIIIIIIIIIIIIIIIIIIIIIIIIIIIIIIIIIIIIIIIIII PERFORMANCE CONCERT<br />
17:15 Espace Découverte<br />
«Cages Enkel IV»<br />
The Experimental Music Yearbook<br />
Tashi Wada: Nest for three players (2008) – 7’<br />
Liam Mooney: 180° for triangles and dry ice (2011) – 7’<br />
..........................................................................................................................<br />
Cages Enkel – die Komponisten des Experimental Music Yearbook<br />
in Los Angeles<br />
Obwohl John Cage die längste Zeit seines Lebens in New York wohnte, sollte man<br />
nicht vergessen, dass er von Geburt ein «Angelino» war, ein Kind der Metropole<br />
an der Westküste, die vor allem mit Hollywood assoziiert wird und seltener mit<br />
experimenteller Musik.<br />
Und doch gibt es hier eine ganz eigene Szene junger Komponisten, die die Fahne<br />
der experimentellen Musik hochhalten, eine eigene Gruppe in der Millionen-<br />
metropole bilden und neben wechselnden Konzertorten sogar eine eigen Location<br />
betreiben, «the wulf». Trotz aller Verschiedenheit in ihrem künstlerischen Schaffen,<br />
haben sie eine gemeinsame Wurzel: das vor den Toren von Los Angeles in der<br />
Suburbia von Valencia gelegene California Institute of the Arts und dort insbe-<br />
sondere die zwei Kompositionslehrer James Tenney und Michael Pisaro, die dort<br />
unterrichteten bzw. unterrichten. Während Tenney (1934–2006) als einer der großen<br />
«Mavericks» der experimentellen Musik gilt, jenen unbeirrbaren Einzelgängern,<br />
die, mitten in ihrer Zeit stehend, doch zu keiner Schule gehören, zählt sich Pisaro<br />
(*1961) zum Kollektiv der Wandelweiser-Komponisten, deren Nukleus eigentlich<br />
in Europa liegt. Beide eint aber die Fokussierung auf kleinste Details (bei Tenney<br />
in seinen späteren Jahren die Beschäftigung mit alternativen Stimmungssystemen,<br />
143
144<br />
bei Pisaro die Untersuchung einer Musik vom Rand der Stille her) und die Ver-<br />
bundenheit mit John Cage. So seltsam das scheinen mag, sind solche Positionen<br />
an einer amerikanischen Hochschule noch immer die Ausnahme (wie auch Cage<br />
zu Lebzeiten seine größten Erfolge eigentlich in Europa feierte).<br />
Ich hatte 2007 als Visiting Professor an CalArts die Gelegenheit und das Vergnügen,<br />
diese Szene intensiver kennenzulernen (ein erster Kontakt war 2002 während<br />
meines Stipendienaufenthaltes an der Villa Aurora in Los Angeles entstanden), und<br />
war beeindruckt von der Vielfalt an künstlerischen Ausdrucksformen und dem<br />
persönlichen Engagement ihrer Urheber, die alle irgendeiner Art von «day job»<br />
nachgehen müssen – ein dem europäischen vergleichbares System von öffentlicher<br />
Kunstförderung gibt es ja in Amerika nicht.<br />
Unter dem Titel The Experimental Music Yearbook betreiben die Komponisten seit<br />
2009 auch eine Online-Publikation, die neben lokalen Künstlern Geistesver-<br />
wandte aus der ganzen Welt einlädt, Stücke oder Texte beizutragen. Das Ziel ist,<br />
mit der Zeit eine Datenbank von relevanten Kompositionen und KomponistInnen<br />
anzulegen und allgemein verfügbar zu machen. So sind dort neben den Initiatoren<br />
auch internationale Größen wie Christian Wolff und Tom Johnson vertreten.<br />
Aus dieser Publikation (zu der ich letztes Jahr auch einen Beitrag beisteuern durfte)<br />
rekrutieren sich die Komponisten des vorliegenden Programms, wobei die Aus-<br />
wahl die Szene keinesfalls vollständig abbildet, sondern eher als Appetizer zu ver-<br />
stehen ist: bunte Häppchen in verschiedenen Geschmacksrichtungen, die neugierig<br />
machen sollen auf mehr: mehr davon und mehr anderes.<br />
Mein eigener Beitrag, e.t. (l.a.) für eine beliebige Anzahl von Spielern mit Laptops,<br />
eröffnet den Reigen und stellt dabei gleich zwei Themen vor, die an CalArts eine<br />
besondere Rolle spielen: der spielerische Umgang mit Technologie und alternative<br />
Stimmungssysteme: das e.t. im Titel verweist nicht auf den gleichnamigen Block-<br />
buster, sondern steht für «equal temperament», gleichstufige Stimmung. Die Ok-<br />
tave wird in so viele Töne unterteilt, wie Laptops an der Aufführung teilnehmen,<br />
jedes davon bringt nur einen hervor.<br />
Das Werk von Cat Lamb, meist in kalligraphischen Partituren niedergelegt, kreist<br />
vor allem um feinste Abweichungen vom temperierten System, die in minutiösen<br />
Obertonrelationen angegeben werden. line/shadow ist allerdings als graphische<br />
Partitur realisiert, drei Seiten mit einfachen Linienzügen, die von einem Solisten<br />
interpretiert werden, dem die anderen Spieler Töne wie Schatten zur Seite stellen,<br />
die sie im Raum hören und die kaum lauter als die Umweltgeräusche erklingen<br />
sollen.<br />
Harmony Series von Michael Pisaro ist ein Mikrokosmos (obwohl einzelne<br />
Nummern auch bis zu einer Stunde dauern können) von 34 Stücken vom Solo bis<br />
zum 14-köpfigen Ensemble, denen allesamt verschiedene Dichter und Gedichte<br />
zugeordnet sind, ohne dass man die Stücke als Vertonungen bezeichnen könnte.<br />
Die Partituren – vorwiegend als Texte notiert – sind in ihrer präzisen Kargheit in<br />
sich schon fast wieder selbst Gedichte. N° 14 «A single charm is doubtful» weist dabei<br />
jedem der vier Spieler einen eigenen tonalen Aktionsraum zu, innerhalb dessen er<br />
frei wählen kann, aus dem Zusammentreffen der Einzelstimmen entsteht dann ein<br />
harmonisches Feld mit eigener Logik.<br />
Michael Winter hat in Small World einen eigenen Kosmos erschaffen, oder genauer<br />
gesagt: den Straßenplan eines Kosmos. Dessen verschiedene «Raum/Zeitknoten»<br />
füllen die Interpreten mit einem Repertoire aus selbstgewählten Aktionen und<br />
verbinden diese nach dem gegebenen Straßennetz. Das Stück endet, wenn ent-<br />
weder alle Aktionen ausgeführt sind oder ein Spieler in einer Sackgasse landet.
Espace Découverte<br />
18:00<br />
Bei Scott Cazans Outliers ist es hingegen der Computer, der als Zuhörer den Fort-<br />
gang des Stückes bestimmt: Aus dem anfänglich zur Verfügung stehenden chro-<br />
matischen Total streicht er im Verlauf von vier Abschnitten nach und nach die<br />
Tonhöhen, die pro Abschnitt am häufigsten gewählt wurden, bis am Ende nur<br />
noch der Einzelton übrigbleibt. Die Spieler müssen sich dabei der in Echtzeit auf<br />
dem Computerbildschirm generierten Partitur unterwerfen.<br />
Nest von Tashi Wada verbindet auf eigene Weise Umweltklänge mit Wahrnehmung:<br />
Zwei der Spieler sollen vor dem Konzert an getrennten Orten Aufnahmen machen,<br />
bei denen sie gleichzeitig mit ihren Instrumenten Töne spielen, die sie am Ort<br />
hören. Diese Aufnahmen werden dann simultan im Konzert abgespielt, wozu die<br />
Instrumentalisten, um ein drittes Instrument verstärkt, wiederum Töne spielen, die<br />
sie entweder vom Band oder im Konzertsaal hören.<br />
Zum Abschluss schließlich lässt Liam Mooney in 180° die Spieler Trockeneis an<br />
Triangeln halten, die dadurch in leichte Vibrationen versetzt werden. Sobald die<br />
Triangeln auf die Temperatur des Eises abgekühlt sind, hören sie auf zu klingen<br />
und müssen in Eimern aufgewärmt werden. Diese beiden Handlungen, deren<br />
Dauer vom Interpreten genau gemessen und angeglichen werden sollen, geben<br />
dem Stück einen langsamen Rhythmus von zartem Sirren und Pausen, der sich po-<br />
tenziell unendlich wiederholen könnte (oder bis der Vorrat an Eis aufgebraucht ist).<br />
(Hans W. Koch<br />
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18:00 Espace Découverte<br />
United Instruments of Lucilin<br />
Marcel Lallemang clarinettes<br />
Sophie Deshayes flûte<br />
Olivier Sliepen saxophones<br />
John Cage: Sonata for Clarinet (1933) – 6’<br />
Vivace<br />
Lento<br />
Vivace<br />
John Cage: Sonata for Two Voices (1933) – 6’ (version pour EWI et synthesizer)<br />
Sonata<br />
Fugato<br />
Rondo<br />
The Sonata for Clarinet is in three chromatic movements: Vivace, Lento, and<br />
Vivace, and was composed while Cage was in Los Angeles. Its third movement is<br />
a retrograde canon of the first, although not rhythmically. Octave transpositions<br />
are used. Sonata for Clarinet is a typical early example of Cage’s work, being<br />
rhythmically complex and non-metrical. Cage makes free use of short motives,<br />
repeating and varying them throughout. The second movement sounds very close<br />
to serial music, but Cage never used this method of composition.<br />
Sonata for Two Voices is in three movements. It is a chromatic composition dealing<br />
with the same problems at work in Cage’s Composition for 3 Voices. In this piece,<br />
each voice is heard within a specific two-octave range. All twenty-five notes should<br />
be played without repetitions. Once all have been played, another presentation<br />
begins, and so on, throughout the piece. (www.johncage.org)<br />
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146<br />
Espace Découverte<br />
18:15, 18:30 & 18:45<br />
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18:15 Espace Découverte<br />
United Instruments of Lucilin<br />
André Pons-Valdès violon<br />
Tomoko Kiba sho<br />
John Cage: Two 4 for violin and sho (1991, extrait / Auszug) – 15’<br />
..........................................................................................................................<br />
Two 4 , one of the «number pieces» that Cage composed during the last five years of<br />
his life, is the fourth (of six) compositions for two musicians composed between<br />
1987 and 1992 – hence the title. The duo in this case is formed by a violin and<br />
the Asian free reed musical instrument which came from China to Japan about<br />
2,000 years ago. It is notated using flexible time-brackets, i.e. each tone should<br />
occur within a period of which the beginning and the end are given instead of a<br />
precise moment. The sho part covers the full range of 17 pitches and consists of<br />
three movements. The violin part employs microtonal notes (six between each<br />
chromatic step) and is divided into four movements. The violin plays mainly<br />
sustained single tones, the sho (or piano) shorter sounds.<br />
IIIIIIIIIIIIIIIIIIIIIIIIIIIIIIIIIIIIIIIIIIIIIIIIIIIIIIIIIIIIIIIIIIIIIIIIIIIIIIIIIIIIIIIIIIIIIIIIIIIIIIII CONCERT<br />
18:30 Espace Découverte<br />
Quatuor United Instruments of Lucilin<br />
André Pons-Valdès, Tomoko Kiba violon<br />
Danielle Hennicot alto<br />
Christophe Beau violoncelle<br />
John Cage: Five Dances (arr. for string quartet by Eric Salzman, 1996–1997)<br />
N° 2: Dream for the dance by Merce Cunningham (1948)<br />
N° 3: Totem Ancestor for Merce Cunningham (1943)<br />
10’<br />
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18:45 Espace Découverte<br />
Quatuor United Instruments of Lucilin<br />
John Cage: Five Dances (arr. for string quartet by Eric Salzman, 1996–1997)<br />
N° 4: In a Landscape (1948)<br />
N° 5: A Room (1943)<br />
10’<br />
..........................................................................................................................<br />
John Cage: Five Dances<br />
Dream, written in 1948 for solo piano, was originally used as music for the epony-<br />
mous choreographed piece by Merce Cunningham, following the rhythmic struc-<br />
ture of the dance and using a fixed gamut of tones. Throughout, resonances are<br />
sustained. The music is essentially a single melodic line, except for the last few bars.<br />
Totem Ancestor was composed in 1942 for solo prepared piano. It was used as music<br />
for the choreographed piece by Merce Cunningham of the same title. The piece<br />
makes use of only 11 different notes which, in the original version, are prepared<br />
with screws, bolts, weather stripping, and a free-rattling nut.<br />
In a Landscape was composed in 1948 for piano (or harp) and is one of Cage’s<br />
most popular and lyrical compositions. The form and rhythm – 15 x 15 measures<br />
(5–7–3) – follows the structure of the dance by Louise Lippold for which it was<br />
written. The piece is similar to Cage’s Dream, but the fixed gamut of tones is more<br />
extensive. Resonances are sustained throughout the composition by using both<br />
pedals. The sound of the composition is soft and meditative, reminiscent of the<br />
music of Erik Satie.
Espace Découverte<br />
19:31’57.9864” & 19:45<br />
A Room was written in 1943 for piano or prepared piano. It is a short composition<br />
with a constant, flowing pulse, set in a minimalist style. It is built around a<br />
complex rhythmic scheme – 4, 7, 2, 5; 4, 7, 2, 3, 5 – although this is not really<br />
audible. Originally, Cage intended A Room to be part 3 of She is Asleep.<br />
All four solo (prepared) piano pieces were arranged for string quartet by Eric<br />
Salzman in 1996–1997 and published by Peters under the title Five Dances.<br />
(For an interview extract of John Cage about Souvenir, Dream, and ASLSP<br />
cf. <strong>Grand</strong> <strong>Auditorium</strong> 17:30)<br />
IIIIIIIIIIIIIIIIIIIIIIIIIIIIIIIIIIIIIIIIIIIIIIIIIIIIIIIIIIIIIIIIIIIIIIIIIIIIIIIIIIIII TOY PIANO CONCERT<br />
19:31’57.9864” Espace Découverte<br />
Xenia Pestova toy piano<br />
Carlos David Perales Cejudo: Three Liturgies for toy piano and electronics*<br />
(2012, création / Uraufführung) – 7’<br />
Luca Vanneschi: Light Music* (2011, création / Uraufführung) – 5’<br />
..........................................................................................................................<br />
Carlos David Perales Cejudo: Three Liturgies<br />
Three liturgies for toy piano and electronics is a virtuous look on this particular<br />
instrument. From the famous Suite for Toy Piano of John Cage to the most<br />
bizarre experiments with souvenirs and toys, this instrument is a challenge in the<br />
creation of new works. Its small size, its short resonance or its unequal timbre,<br />
requires a full attention to its potential as a piano. The extent of its sound with<br />
the electronic expression forms a rich world of sound gestures and details. In this<br />
work, the toy piano acquires a ritual role, in it, many symbolic resources related to<br />
sacred rituals are arised: the sacred temples plant, the number 2 and 3, as symbols<br />
of the profane and the sacred, the antiphon, the arabesques and ornaments of the<br />
liturgical objects, repetition as the basis for setting dogmas, the stubborn apodosis,<br />
the lazy acceptance of meager texts, etc. (Carlos D. Perales)<br />
Luca Vanneschi: Light Music<br />
Não sou nada.<br />
Nunca serei nada.<br />
Não posso querer se nada.<br />
À parte isso, tenho em mim todos os<br />
sonhos do mundo.<br />
I am nothing.<br />
I shall always be nothing.<br />
I can only want to be nothing.<br />
Apart from this, I have in me all the<br />
dreams in the world.<br />
(Fernando Pessoa: «Tabacaria», 1928)<br />
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19:45 Espace Découverte<br />
Phyllis Chen toy piano<br />
Andrian Pertout: Pi (Obstruction) (2008) – 6’<br />
Christina Viola Oorebeek: Chromotoy I. Three sketches for Schoenhut<br />
toy grand piano (37 keys), toy piano tines, soundwheel and electronics*<br />
(2012, création / Uraufführung) – 9’<br />
..........................................................................................................................<br />
Andrian Pertout: Pi (Obstruction)<br />
The history of the toy piano (French: piano jouet; German: Spielzeugklavier; Italian:<br />
pianino-giocattolo) begins as Troiger’s ‹Stahlklavier› (Dessau, 1792) and Franz<br />
Schuster’s ‹Adiaphonon› (Vienna, c. 1818), to be later developed in Philadelphia,<br />
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148<br />
USA, in 1872, where German immigrant Albert Schoenhut ultimately conceives<br />
the child’s toy that in time will also capture the imagination of the contemporary<br />
composer. The instrument is usually made out of wood or plastic, and is dimen-<br />
sionally less than fifty centimeters in width, with a range between two diatonic<br />
and three chromatic octaves. It has a simple sounding mechanism (similar to that<br />
of the full-sized keyboard glockenspiel) consisting of plastic hammers operated<br />
via a keyboard, which strike fixed metal plates or steel rods. Traditionally, toy<br />
pianos were modeled on uprights, but following the 1950s grand piano varieties<br />
were commonplace. Contemporary works that have incorporated the toy piano<br />
include John Cage’s Suite for Toy Piano (1948) and George Crumb’s Ancient Voices<br />
of Children (1970), as well as other works by Renaud Gagneux, Mauricio Kagel,<br />
Louis Roquin, Zygmunt Krauze, and Leonid Aleksandrovich, among many.<br />
Internationally acclaimed concert pianist Margaret Leng Tan made her debut on<br />
the toy piano in 1993 at New York’s Lincoln Centre, and went on to introduce the<br />
model 6625, 25-key Schoenhut Traditional Spinet to Carnegie Hall in 1997; also<br />
releasing ‹The Art of the Toy Piano› in that same year — a collection of works by<br />
Stephen Montague, John Lennon and Paul McCartney, Toby Twining, Jed Distler,<br />
Philip Glass, David Lang, Julia Wolfe, Ludwig van Beethoven, Guy Klucevsek,<br />
Raphael Mostel, and Erik Satie.<br />
Pi (Obstruction) for Schoenhut Concert <strong>Grand</strong> (Model 379, 37-key) was commissioned<br />
by American pianist Phyllis Chen and represents a Hommage à Conlon Nancarrow<br />
(1912–1997). The title is in reference to the I Ching, or ‹Book of Changes› —<br />
originating in the Western Zhou Dynasty (1122–771 BC) — and highlights hexa-<br />
gram 12 (incorporating the trigrams of energy and space) from the 64 hexagrams<br />
of the oracle. In the tradition of American composer, pianist and theorist Henry<br />
Cowell (1897–1965) and his monumental publication of New Musical Resources<br />
(1930), the work explores a variety of compositional techniques developed during<br />
the 20 th century by American experimentalist composer Conlon Nancarrow and<br />
documented by Kyle Gann in The Music of Conlon Nancarrow (1995). (Andrián Pertout)<br />
Christina Viola Oorebeek: Chromotoy I<br />
Chromotoy I is the third piece in a trilogy of three compositions for various<br />
acoustic and electronic keyboards and small percussion instruments. Chromotoy II<br />
is written for Yamaha Disklavier, live sampling and improvisation by the performer.<br />
Chromotoy III is for acoustic grand piano, toy grand piano and MIDI toy piano,<br />
which uses samples of toy piano or piano harmonics.<br />
The form of Chromotoy I is the most open of the three works, in its timing and<br />
interaction of the acoustic instruments with pre-recorded samples and live<br />
electronics. The timbres of the iron toy piano tines are heard in two ways –<br />
through the sounding board of the instrument itself, and also, mounted solo on a<br />
resonating wine box. In addition, the soundwheel, a unicycle wheel played with<br />
invented implements, complements the chromatic pitches of the tines.<br />
Unifying gestures of the piece are the glissandi on the solo tines and soundwheel,<br />
a whirring sound recalling the fluttering of wings, or mechanical water wheels<br />
or lathes. Garlands of fast notes echo these glissandi with sustained tones giving<br />
breathing space in between. Tempi speed up and slow down within these gestures,<br />
creating peaks of excitation and ambient languor. (Christina Viola Oorebeek)
Espace Découverte<br />
20:00<br />
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20:00 Espace Découverte<br />
Isabel Ettenauer toy piano<br />
Karlheinz Essl:<br />
Kalimba (mit Zuspielung) (2005) – 5’<br />
WebernSpielWerk (mit Ringmodulator) (2005) – 5’<br />
whatever shall be (2010) – 10’<br />
..........................................................................................................................<br />
At the beginning of the 3 rd millennium, I had a strange encounter with a strange<br />
instrument: the toy piano, which at first didn’t attract me that much. On the<br />
contrary, I didn’t properly estimate its restricted sound possibilities and regarded<br />
it quite uninteresting and boring. My immature prejudice changed entirely when<br />
I borrowed a toy piano from Isabel Ettenauer who was asking me since years to<br />
write a piece for her. And now, after being forced to dedicate myself to this instru-<br />
ment I soon understood that it has nothing to do with the piano as we know it.<br />
When I hit a key on a regular piano, I am not just hearing a note, but also the<br />
whole history of this instrument with its repertory from Bach to Boulez that the<br />
piano sound transports. This fact always makes it difficult for me to compose for<br />
piano as it always reminds me of historical music that I love – and also abhor.<br />
This didn’t seem to happen to me when I was playing on the toy piano because its<br />
sound has nothing to do with a conventional piano. Instead of strings this instru-<br />
ment has metal rods which are hit by hammers, producing sonic qualities that<br />
rather remind me of bells or a celesta, Asian gamelan, or even an African kalimba.<br />
Kalimba in fact is the name of my first piece for toy piano and playback which was<br />
composed in 2005 for the pianist and toy piano performer Isabel Ettenauer. The<br />
primary aim of this piece is an attempt to break up the restricted sound world of<br />
the toy piano – not by superficial means of additional sound processing, but by<br />
the sound of the instrument itself. This is achieved by a pre-composed soundtrack<br />
which is played back by a small loudspeaker which is hidden inside the toy piano.<br />
This creates a perfect blend between the sounds of the instrument and the sounds<br />
from the loudspeaker. Furthermore, as the listeners won’t notice any electronic<br />
devices, they might assume that all the music comes from the toy piano itself.<br />
The piece is entirely based on an eight-tone scale which alternates whole and half-<br />
tone steps. It was recorded from the very instrument which Isabel uses to play in<br />
her performances, and also in her solo recital today in <strong>Luxembourg</strong>. The material<br />
was processed by a computer program written in Max/MSP using a compositional<br />
algorithm that creates five canonic layers of the same soundfile which are affected<br />
by very slow glissandos. The result is stunning: starting from the original scale<br />
(which is also played synchronously on the toy piano), the sound gradually trans-<br />
forms itself from a rich variety of sonic transformations into a ‹chaotic› distribution<br />
of the 8 tones which finally fall together into chord repetitions.<br />
In the adjacent part of the piece, the glissandos are expanded to a much wider<br />
range and – by forming an ambitus of 4 octaves in the end – a proportional<br />
canon of the form 1/4 : 1/2 : 1 : 2 : 4 is created. Continuously, all layers except<br />
the (s)lowest are fading out, so that in the end only a transposition of the original<br />
recording two octaves lower (and two times slower) can be heard. This is the<br />
beginning of the ‹coda› of the piece, where upon the ‹ground› of the extremely<br />
slowed-down toy piano motif the entire piece is compressed into a few seconds.<br />
After finishing this piece I became more and more interested in scrutinizing further<br />
possibilities of this instrument. A few months later I composed WebernSpielWerk as<br />
a tombeau for Anton Webern who was accidentally shot dead by an American GI<br />
in Mittersill, Salzburg (where Webern had escaped from the Russian invasion) on<br />
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Espace Découverte<br />
20:30<br />
September 15 th , 1945. In this piece, the toy piano was utilized as a sort of carillon<br />
– a very tiny one –, and in fact the piece was modeled after the generative sound<br />
installation WebernUhrWerk which was played at the 60 th anniversary of Webern’s<br />
death from a loudspeaker hidden inside a roof at the market place of Mittersill.<br />
Later in the evening, a different rendering of the same concept – this time notated<br />
as a score – was performed by Isabel Ettenauer on a toy piano in the church of<br />
Mittersill; a stark contrast to the original open air sound installation, but now<br />
projected into the small and concentrated environment of a spiritual place.<br />
Tonight I will perform this piece together with Isabel, using a ring modulator to<br />
process the toy piano’s sound in order to transform it into a more bell-like timbre.<br />
In my toy piano compositions, I always attempted to find a new perspective to<br />
this instrument. In order to break up its restricted sound world, I was hiding a tiny<br />
loudspeaker inside the toy piano for Kalimba which played back pre-produced<br />
sounds. WebernUhrWerk, however, was originally a purely acoustic piece, and<br />
Sequitur V uses live-electronics which create a sonic house-of-mirrors solely from<br />
the live input of the instrument.<br />
In whatever shall be – written for Phyllis Chen from New York in 2010 – I focussed<br />
on the ‹ugly› parts of the instrument which are commonly not regarded as musical:<br />
the guts apart from the keys – the body of the instrument. So I was approaching<br />
the toy piano like an innocent child who looks into the belly of the instrument<br />
and starts scratching and knocking here and there. In fact, due to the acoustic<br />
properties of the sound boards, this produces very rich and fascinating sounds.<br />
Then I mounted a contact microphone on the downside of the the sound board<br />
which was connected to a special computer program (written in MaxMSP) that<br />
I had conceived for this composition: a kind of sonic ‹particle accelerator› which<br />
creates a maelstrom of sounds, swirling around the audience.<br />
But there is yet another story which I have to mention in the end: When experi-<br />
menting with the entrails of the toy piano, I realized that its sound board acts<br />
as a splendid amplifier for tiny sounds and noises. When putting a small music<br />
box inside, its lanky sound becomes strong and mighty, mixing nicely with the<br />
key sounds of the toy piano. That happens at the very end of the piece. And in<br />
fact everything that is heard before – rhythmical cells, melodic motives, even the<br />
harmonic structure – has derived from this little music box melody which arose<br />
from the great movie The Man Who Knew Too Much by Alfred Hitchcock. And the<br />
refrain of the song reads: «Que sera, sera, whatever will be, will be.»<br />
(Karlheinz Essl)<br />
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20:30 Espace Découverte<br />
CO2<br />
Riccarda Caflisch flute<br />
Dario Calderone contrebasse<br />
Bernhard Lang: Winterlicht (création / Uraufführung) – 20’<br />
..........................................................................................................................<br />
Das Stück setzt die Reihe der Differenz/Wiederholungs-Stücke fort, hier ausgehend<br />
von der einzigartigen Klangkombination Bassflöte/Kontrabass. Loops sind das<br />
dominierende Strukturelement, aber auch das Instrument der Klangbeleuchtung<br />
und Schattierung. Die Textur oszilliert zwischen freier Klangfantasie und computer-<br />
generierten Passagen, auf die Verwischung der Grenzen zwischen beiden Zonen<br />
abzielend.<br />
Die dreisätzige Struktur ergab sich im Zuge des organischen Wachsens des Stückes,<br />
während der ich erst die zeitliche Ausdehnung entdeckte.<br />
Das Stück wurde von Ricci Caflisch angeregt und beauftragt. (Bernhard Lang)
Espace Découverte<br />
20:52’57.998“<br />
IIIIIIIIIIIIIIIIIIIIIIIIIIIIIIIII DIY WORKSHOP CONCERT PERFORMANCE (18–XXX)<br />
20:52’57.998“ Espace Découverte<br />
«Revolution II»<br />
Bernhard Günther présentation (F, D, E)<br />
John Cage: Les Chants de Maldoror pulvérisés par l’assistance même.<br />
200 pages pour un public francophone de pas plus de 200 personnes (1971)<br />
..........................................................................................................................<br />
Les Chants de Maldoror sind ein 1869 unter dem Pseudonym Comte de Lautréa-<br />
mont im Druck erschienenes experimentelles Prosawerk. Im Mittelpunkt des<br />
radikal und hemmungslos wuchernden Textkonvoluts steht Maldoror, ein<br />
abgrundtief schlechter Charakter, der im Verlauf der sechs «Gesänge» alle nur<br />
erdenklichen Schandtaten begeht – Clockwork Orange und American Psycho lassen<br />
grüßen. Autor des Texts war der französische Dichter Isidore Ducasse, der 1846<br />
als Sohn eines französischen Diplomaten in Montevideo/Uruguay geboren<br />
worden war und ein Jahr nach Erscheinen der Gesänge des Maldoror starb. Erst<br />
posthum sorgte sein Text für Furore: Alfred Jarry erblickte darin ein Universium<br />
der Pataphysik, André Breton erwähnte Ducasse mehrfach im Surrealistischen<br />
Manifest, André Gide sah das größte Verdienst von Breton, Louis Aragon und<br />
Philippe Soupault darin, «die literarische und ultra-literarische Bedeutung des<br />
bewundernswerten Lautréamont erkannt und proklamiert zu haben».<br />
«Gebe der Himmel, dass der Leser, erkühnt und augenblicklich von grausamer Lust gepackt<br />
gleich dem, was er liest, seinen abrupten und wilden Weg durch die trostlosen Sümpfe dieser<br />
finstren und gifterfüllten Seiten finde, ohne die Richtung zu verlieren; denn wofern er nicht<br />
mit unerbitterlicher Logik und einer geistigen Spannung, die wenigstens seinen Argwohn<br />
aufwiegt, an diese Lektüre geht, werden die tödlichen Emanationen dieses Buches seine Seele<br />
durchtränken wie das Wasser den Zucker.» Diesem gefährlich klingenden Wunsch<br />
begegnet der Leser schon auf den ersten Seiten des skandalumwitterten Stücks<br />
Weltliteratur. Um sich ich mit diesem Buch rund um den «Sonnenaufgang des<br />
Bösen» (L’aurore du mal) auseinanderzusetzen, kann es also nicht schaden, wenn<br />
man – wie John Cage – über eine unerschütterliche «sunny disposition» verfügt.<br />
John Cage pulverisiert Les Chants de Maldoror durch die bloße Anwesenheit des<br />
Publikums. Die Wahl des Titels Les Chants de Maldoror pulvérisés par l’assistance même<br />
steht natürlich zu Duchamps La Mariée mise à nu par ses célibataires, même von 1934<br />
in Beziehung (auch eine Loseblattsammlung). Cage nimmt zufallsbasiert umfang-<br />
reiche Streichungen vor, zerlegt das Buch in 200 einzelne Seiten und lässt diese<br />
ans Publikum verteilen. Der eigentliche Auslöser dessen, was im Saal vonstatten-<br />
geht, sind aber nicht die mehr oder weniger anstoßerregenden Textfetzen von<br />
Lautréamont, sondern John Cages verschmitzte und raffinierte Anweisungen an<br />
das Publikum, das eine kollektive Performance aufführt.<br />
Wie beispielsweise auch bei Cages Cheap Imitation for orchestra without conductor<br />
(einem der radikalsten Orchesterstücke der Musikgeschichte) lässt eine einzige<br />
Seite Textanweisung aus einer Partitur eine soziale Plastik entstehen. In gewisser<br />
Weise sind Cages Chants ein Gegenstück zur Cheap Imitation: Dort müssen 95<br />
professionelle Musiker mindestens zwei Wochen lang arbeiten, hier werden bis zu<br />
200 Laien nach höchstens 10 Minuten Orientierung zu Cage-Interpreten. Beide<br />
gehören zu den am seltensten aufgeführten Werken von John Cage. Utopisch,<br />
experimentell, verspielt, mit offenem Ausgang und einem gewissen aktionistischen<br />
Spaßfaktor sowie (aufgrund der kollektiv zu pulverisierenden literarischen Roh-<br />
materialien von schwärzester Finsternis) nicht 100% jugendfrei. (Bernhard Günther)<br />
151
Espace Découverte<br />
21:00 & 21:19’8½”<br />
IIIIIIIIIIIIIIIIIIIIIIIIIIIIIIIIIIIIIIIIIIIIIIIIIIIIIIIIIIIIIIIIIIIIIIIIIIIIIIIIIIIIIIIIIIIIIIIIIIIIIIII CONCERT<br />
21:00 Espace Découverte<br />
«Zen I»<br />
CO2<br />
Riccarda Caflisch flute<br />
Dario Calderone contrebasse<br />
John Cage: Ryoanji (1983–1985) – 14’<br />
..........................................................................................................................<br />
(voir p. 95 / siehe S. 95)<br />
IIIIIIIIIIIIIIIIIIIIIIIIIIIIIIIIIIIIIIIIIIIIIIIIIIIIIIIIIIIIIIIIIIIIIIIIIIIIIIIIIIIIIIIIIIIIIIIIIIIIIIII CONCERT<br />
21:19’8½” Espace Découverte<br />
CO2<br />
Riccarda Caflisch flute<br />
Dario Calderone contrebasse<br />
Marcel Reuter: unbreakable captive (2012, commande / Kompositionsauftrag<br />
<strong>Philharmonie</strong> <strong>Luxembourg</strong>, création / Uraufführung) – 7’<br />
153
154<br />
Salle de répétition I<br />
16:04’57.9865”<br />
IIIIIIIIIIIIIIIIIIIIIIIIIIIIIIIIIIIIIIIIIIIIIIIIIIIIIIIIIIIIIIIIIIIIIIIII TOY PIANO CONCERT (7–100)<br />
16:04’57.9865” Salle de répétition I<br />
Margaret Leng Tan piano<br />
Phyllis Chen: Carousel for toy piano and hand-cranked music box (2010)<br />
Phyllis Chen: Cobwebbed Carousel for toy piano and hand-cranked music box<br />
(2010) – 8’ (video: Rob Dietz)<br />
Yuichi Matsumoto: Intention (Composition in Retrospect N° 3)<br />
for Toy Piano and Reader* (2012, création / Uraufführung) – 4’<br />
Lee Hye Kung: Dream Play: No‑ri II* (2000/2011, création / Uraufführung<br />
revised version) – 3’<br />
Erik Griswold: Old M acDonald’s Yellow Submarine for toy piano, woodblocks,<br />
bicycle bell, bicycle horn and train whistle (2004) – 4’<br />
4. Chooks!<br />
5. Bicycle Lee Hooker<br />
..........................................................................................................................<br />
Phyllis Chen: Carousel & Cobwebbed Carousel<br />
It seems natural to love music boxes as a toy pianist; both instruments have metal<br />
tines and rely on a resonating chamber to sound. Both Carousel and Cobwebbed<br />
Carousel are composed on the same punch tape strip but for Cobwebbed Carousel,<br />
the reverse surface of the punch tape passes through the music box mechanism. In<br />
this «counter-piece,» Margaret suggested that I attempt to capture the mysterious,<br />
darker aspect of childhood. Cobwebbed Carousel is dedicated to and written for<br />
Margaret Leng Tan with great admiration. (Phyllis Chen)<br />
Yuichi Matsumoto: Composition in Retrospect<br />
This piece is written based on the «Enquete-art» (Questionnaire Art) composition<br />
theory. «Enquete-art» is my work; it uses surveys to gather opinions from many<br />
people; these answers are then presented in a work transformed into music. While<br />
various parts of speech (e.g. noun, adverb, preposition etc.) are each assigned their<br />
own individual pitches, the length of each part of speech translates into rhythm,<br />
thus resulting in a melody.<br />
This music in this particular piece is generated using the text of «Composition in<br />
Retrospect» by John Cage. I’m sure that by using Cage’s text according to his own<br />
rules has resulted in new possibilities for this composition theory.<br />
This work involves reading. When it is difficult to read aloud while playing, it is<br />
possible to have other people read. Or just display the text while performing the<br />
music. It is important the audience understands that the music is generated from<br />
the original text. (Yuichi Matsumoto)<br />
I have chosen to perform this particular section of Composition in Retrospect for<br />
Toy Piano and Reader for personal reasons. Cage’s text contains a reference to<br />
our initial encounter – in 1981 Malaysian dancer Marion d’Cruz and I performed<br />
Cage’s Bacchanale for him: «the dancer from malaysia a theatrical crossing from<br />
left to right so slowly as to seem to be moving not at all the music meanwhile as<br />
fast as possible.» (Margaret Leng Tan)
Composition in Retrospect<br />
N° 3: Intention<br />
The text is an extract from John Cage’s mesostic «Composition in Retrospect»,<br />
originally given as a speech in 1981 at the Computer Music Conference in Denton, Texas.<br />
Printed in: John Cage: X. Writings ’79–’82. – New England, Hanover [Middletown, CT]:<br />
Wesleyan University Press, 1983. – p. 127–128<br />
[intention conjunction verb adjective auxiliary-verb determiner preposition symbol noun adverb]<br />
musIc<br />
for the daNce<br />
To go with it<br />
to Express<br />
the daNce in sound<br />
noT<br />
beIng able<br />
tO do<br />
the same thiNg<br />
gIves the possibility<br />
of doiNg<br />
someThing<br />
that diffErs<br />
liviNg<br />
in The same town<br />
fInding life<br />
by nOt<br />
liviNg the same way<br />
the dancers from malaysIa<br />
a theatrical crossiNg<br />
from lefT to right<br />
so slowly as to sEem to be<br />
moviNg<br />
noT at all<br />
the musIc meanwhile<br />
as fast as pOssible<br />
togetherNess<br />
of opposItes<br />
purposeful purposelessNess<br />
noT<br />
to accEpt it<br />
uNless i could remain<br />
aT<br />
the same tIme<br />
a member Of society<br />
able to fulfill a commissioN<br />
to satIsfy<br />
a particular Need<br />
Though having no control<br />
ovEr<br />
what happeNs<br />
accepTance<br />
sometImes<br />
written Out<br />
determiNate<br />
sometImes<br />
just a suggestioN<br />
i found iT<br />
worked therefor i Nap<br />
pounding The<br />
rIce<br />
withOut<br />
liftiNg my hand<br />
gIves the possibility<br />
a theatrical crossiNg<br />
Though having no control<br />
that diffErs<br />
uNless i could remain<br />
in The same town<br />
the same tIme<br />
as fast as pOssible<br />
togetherNess<br />
155
156<br />
Salle de répétition I<br />
16:30<br />
HyeKyung Lee: Dream Play (No-ri II)<br />
Dream Play (No‑ri I–IV) has for short movements connected into one. Dream<br />
Play (No‑ri II) is one of the four movements in the piece, which can be played<br />
separately as an independent piece. «No-ri» means «play» in Korean. In dreams<br />
there are no limits to our imagination. I used toy piano for its unique innocent<br />
and ghostly sound colour. (HyeKyung Lee)<br />
Erik Griswold: Chooks! & Bicycle Lee Hooker<br />
Chooks! and Bicycle Lee Hooker are from Old MacDonald’s Yellow Submarine, a six<br />
movement work Griswold wrote for me in 2004. «Chooks» is Australian for<br />
chickens. Bicycle Lee Hooker is a mini-tribute to the great blues musician, John<br />
Lee Hooker. A tour-de-force of multi-tasking, the piece explores the potential of<br />
making music with the humblest of toys – a bicycle bell, bicycle horn and train<br />
whistle heard in tandem with the toy piano.<br />
Old MacDonald’s Yellow Submarine was generously funded by the Australia Council<br />
for the Arts and was the Australian Broadcasting Corporation’s official entry at<br />
the 2010 International Rostrum of Composers conference.<br />
Australian-American composer-pianist Erik Griswold performs in Clocked Out<br />
Duo with percussionist Vanessa Tomlinson. He not only creates works for pre-<br />
pared piano, percussion and toy instruments, but he also explores the possibilities<br />
of music boxes, found object percussion and microtonality. (Margaret Leng Tan)<br />
IIIIIIIIIIIIIIIIIIIIIIIIIIIIIIIIIIIIIIIIIIIIIIIIIIIIIIIIIIIIIIIIIIIIIIII TOY PIANO CONCERT (7–100)<br />
16:30 Salle de répétition I<br />
«Toy Dreams»<br />
Isabel Ettenauer toy piano<br />
Manuel de Roo: Monsieur Michel sonne les cloches du rock<br />
for toy piano solo (2009, 2’)<br />
Tomi Räisänen: Dreamgate for two toy pianos and tape* (2006) – 7’<br />
Franz Danksagmüller: seven little nightmares for toy piano and soundfiles*<br />
(2012, création / Uraufführung, extraits / Auszüge)<br />
1. fed with bees<br />
2. someone’s nibbling on my dreams<br />
4. haunting sirens<br />
6. Chab’s bar<br />
..........................................................................................................................<br />
Manuel de Roo: Monsieur Michel sonne les cloches du rock<br />
Immer wieder träumt der von allen zirkusbesuchenden Kindern, Eltern und<br />
Großeltern geliebte Clown Monsieur Michel davon, ein Rockstar zu sein, nicht<br />
mehr mit einem Zirkuswagen herumzufahren, sondern mit Limousine und<br />
Chauffeur, neben Mick Jagger auf der Bühne das Schlagzeug zu energetischem<br />
Leben zu erwecken. Gleich einem nicht aufhörenwollenden Läuten von zu kleinen<br />
Kirchenglocken fühlt sich rastlose Kraft dieses Traums an, wie in einem zu schnell<br />
ablaufenden Film spuken ihm die Bilder durch den Kopf. Aber wie müsste er<br />
sein Leben bisher gestaltet haben, welchen Weg müsste er gegangen sein und was<br />
müsste er jetzt auch noch alles unternehmen um diesen Traum zu verwirklichen?<br />
Wäre das nicht eine unheimliche seelische und körperliche Belastung für den alten<br />
Herrn Michel? Müsste er da nicht von einer Konzerthalle zum nächsten Empfang<br />
um sogleich wieder im Flugzeug zu sitzen, damit das nächste mit Publikum<br />
gefüllte Sportstadion sein Konzert erlebt… sein Konzert?<br />
Monsieur Michel zweifelt, kommt noch nicht zu einer überzeugten inneren<br />
Haltung. So wird er bei der nächsten Abendvorstellung erst einmal wieder die<br />
fröhlichen Besucher mit im Spaß verstecktem Ernst verzaubern und hoffen, dass<br />
die Menschen den tragischen Hintergrund von all seinem Klamauk zumindest<br />
unbewusst in sich aufnehmen. Dennoch bleibt er innerlich aufgewühlt, schlägt<br />
die Traumglocken wieder und wieder an und fiebert rastlos seiner Vorstellung<br />
hinterher, ist dieser doch im Schlaf allzu real.
Salle de répétition I<br />
17:00<br />
Tomi Räisänen: Dreamgate<br />
The work Dreamgate, composed for two toy pianos and tape, deals with the<br />
transition from the waking state to the world of dreams. The music tells the story<br />
of a child who is falling asleep while listening to the melodies of a music box and<br />
her mother’s lullaby. The repetitive sounds of the music box and the calming<br />
singing work together as a gateway to the dream world. After the child has fallen<br />
asleep the sounds of the music box continue in a dream, but now in an altered<br />
form. The mother’s song also returns as a recollection. (Tomi Räisänen)<br />
Franz Danksagmüller: seven little nightmares<br />
During summer, Isabel Ettenauer asked me to write a piece for her. She also sent<br />
me a link to an ebay auction of an old Schoenhut toy piano (upright, 25 Keys).<br />
I got it and immediately fell in love with this charming instrument. I began to<br />
improvise and the ideas just started popping up. This led to this little suite.<br />
(Franz Danksagmüller)<br />
IIIIIIIIIIIIIIIIIIIIIIIIIIIIIIIIIIIIIIIIIIIIIIIIIIIIIIIIIIIIIIIIIIIIIIII TOY PIANO CONCERT (7–100)<br />
17:00 Salle de répétition I<br />
Bernd Wiesemann toy piano<br />
Andreas Kunstein: Requiem für ein Meerschweinchen* (2008) – 7’<br />
Peter Gahn: Bewegen Sie die Störung für toy piano* (2008) – 4’<br />
Nickos Harizanos: Five Moments in a Ladybird’s Life*<br />
(2012, creation / Uraufführung) – 4’<br />
Yasuko Yamaguchi: Zuckerregen* (2002) – 7’<br />
..........................................................................................................................<br />
Andreas Kunstein: Requiem für ein Meerschweinchen<br />
The Requiem for a Guinea‑Pig for one player with two toy pianos is dedicated to<br />
Bernd Wiesemann. It was written in memory of Mimi (January 5, 2005–April 23,<br />
2008). (Andreas Kunstein)<br />
Peter Gahn: Bewegen Sie die Störung<br />
This piece (the title means «move the disturbance») derives of the idea of a little<br />
diamond. Not a perfect diamond but one with a lot of colour effects. Crystallo-<br />
graphic disorders, e.g. point, line, planar and bulk defects, can occur inside regularly<br />
ordered crystallographic structures and are a reason for the colour and colour<br />
effects. Elastic and plastic distortion is a reason for delocalisation of the regularly<br />
ordered elements of a metallic bond. These metallic bonds – in German called<br />
metallic ‹fences› – and the elastic distortions are the physical reason of the<br />
vibration of the metal bars of the toy piano, its sound. The plastic distortions of<br />
the slightly imperfect metal bars – looking like a fence in their regular order –<br />
make the unique sound of each single pitch and special beauty of this instrument.<br />
(Peter Gahn)<br />
Nickos Harizanos: Five Moments in a Ladybird’s Life<br />
The work consists of three short parts played without rest, starting from a point<br />
of short, staccato single notes or phrases while little by little the leading voice<br />
becomes more dense and complicated. This short plan of the form, along with the<br />
complex rhythmical patterns, ‹describes› the ladybird’s colour and the way it walks<br />
and flies, which sometimes can be very humoristic.<br />
…nothing better than the sound quality of a toy piano for all this picture!<br />
(Nickos Harizanos)<br />
Yasuko Yamaguchi: Zuckerregen<br />
Zuckerregen (Sugar Rain) consists of three small pieces, each of which has a different<br />
concept of mirroring. I took my inspiration from a film entitled Sugar Rain. In it<br />
the story of two women is explained: The television screen is divided and the<br />
viewer sees the same story, on one side the screen told from the beginning and on<br />
the other from the end, each from the perspective of one woman. At the midpoint<br />
of the story, the images cross and the film continues as a mirror of its first half.<br />
(Yasuko Yamaguchi)<br />
157
158<br />
Salle de répétition I<br />
18:00 & 19:31’57.9864”<br />
IIIIIIIIIIIIIIIIIIIIIIIIIIIIIIIIIIIIIIIIIIIII TOY PIANO CONCERT PERFORMANCE (7–100)<br />
18:00 Salle de répétition I<br />
Pascal Meyer toy piano<br />
Catherine Kontz: Siegfried & Melusina* (2007/2008) – 5–10’<br />
..........................................................................................................................<br />
Melusina is said to have been the wife of the founder of <strong>Luxembourg</strong>, Count<br />
Siegfried. When they married, she had one particular request, namely that<br />
Siegfried must leave her alone for one full day and night every month, and that<br />
he should not ask or try to find out what she was doing. Of course, Melusina<br />
was such a beautiful girl that Siegfried could not refuse her this one small wish,<br />
and all went well for years and years, when on the first Wednesday of the month,<br />
Melusina would retire into her chambers in the Casemates, a network of caverns<br />
underneath the city, not to be seen again until early light on Thursday.<br />
But one day, Siegfried’s curiosity got the better of him. Wondering what on earth<br />
she might be doing alone all the time, he peeped through the keyhole, and was<br />
shocked to see that Melusina was lying in the bathtub, with a fishtail hanging over<br />
the rim. As you all know, mermaids like Melusina have a very keen sixth sense,<br />
which tells them instantly that they are being watched, and thus she recognized<br />
her husband through the door, and jumped out of the window into the river<br />
Alzette below, never to be seen again. Except every now and then, some people<br />
say they have seen a beautiful girl’s head pop out of the river, and a fishtail<br />
rippling the calm waters of the river Alzette. (<strong>Luxembourg</strong> Legends, www.ont.lu)<br />
IIIIIIIIIIIIIIIIIIIIIIIIIIIIIIIIIIIIIIIIIIIIIIIIIIIIIIIIIIIIIIIIIIIIIIIIIIIIIIIIIIIIIIIIIIIIIIIIIIIIIIII CONCERT<br />
19:31’57.9864” Salle de répétition I<br />
«Cage’s teachers I»<br />
ensemble recherche<br />
Melise Mellinger violon<br />
Barbara Maurer alto<br />
Åsa Åkerberg violoncelle<br />
Henry Cowell: Seven Paragraphs for string trio (1925) – 12’<br />
Largo<br />
Allegretto<br />
Allegro<br />
Allegro scherzando,<br />
Andante<br />
Allegro moderate<br />
Quasi andante<br />
..........................................................................................................................<br />
Henry Cowell’s Seven Paragraphs is a collection of short musical character studies.<br />
Cowell was 28 years old when he wrote it, and he already had about 15 years of<br />
experience – he had started to compose in his early teens and began to study at<br />
age 16 with Charles Seeger at the University of California. About 20 years after<br />
Seven Paragraphs was written, Henry Cowell, John Cage, Virgil Thomson, and Lou<br />
Harrison composed together the Party Pieces.<br />
Cowells use of varied sound materials, experimental compositional procedures,<br />
and a rich palette colored by multiple non-European and folk influences<br />
revolutionized American music and popularized, most notably, the tone cluster as<br />
an element in compositional design. Cowell’s influence is legion, counting among<br />
his students John Cage, Lou Harrison, and George Gershwin. Cowell taught at the<br />
New School for Social Research in New York and also held posts at the Peabody<br />
Conservatory and Columbia University. (www.schirmer.com)
Salle de répétition I<br />
19:45<br />
IIIIIIIIIIIIIIIIIIIIIIIIIIIIIIIIIIIIIIIIIIIIIIIIIIIIIIIIIIIIIIIIIIIIIIIIIIIIIIIIIIIIIIIIIIIIIIIIIIIIIIII CONCERT<br />
19:45 Salle de répétition I<br />
«Cage’s teachers II»<br />
ensemble recherche<br />
Melise Mellinger violon<br />
Barbara Maurer alto<br />
Åsa Åkerberg violoncelle<br />
Arnold Schönberg: Streichtrio op. 45 (1946) – 15’<br />
..........................................................................................................................<br />
«Am 2. August dieses Jahres wird es drei Jahre her sein, seit – was ich scherzhaft,<br />
meinen Todesfall, nenne [eine Reanimierung durch Herzinjektion nach einer<br />
Herzattacke]. Das Trio, von dem, ich vielen Leuten erzählt habe, dass es eine<br />
‹humoristische› Darstellung meiner Krankheit ist, habe ich bald nachdem ich aus<br />
dem Ärgsten heraus war, angefangen.» (Arnold Schönberg: «Mein Todesfall», 1949)<br />
«Eines Zusammenseins mit Schönberg bei uns ist in jenen Tagen gedacht und soll<br />
hier gedacht sein, bei dem er mir von seinem neuen, eben vollendeten Trio und<br />
den Lebenserfahrungen erzählte, die er in die Komposition hineingeheimnist habe,<br />
deren Niederschlag das Werk gewissermaßen sei. Er behauptete, er habe darin<br />
seine Krankheit und ärztliche Behandlung samt ‹male nurse› und allem übrigen<br />
dargestellt. Übrigens sei die Aufführung äußerst schwierig, ja fast unmöglich, oder<br />
nur für drei Spieler von Virtuosenrang möglich, dabei aber sehr dankbar vermöge<br />
außerordentlicher Klangwirkungen.» (Thomas Mann: Die Entstehung des Doktor Faustus, 1949)<br />
«In the 1930s we didn’t take Bartók seriously. We took Stravinsky and Schoenberg<br />
seriously as the two directions that one could legitimately take. I chose Schoenberg,<br />
and I think it was right, because toward the end of his life Stravinsky also turned<br />
to twelve-tone music. I worshipped Schoenberg – I saw in him an extraordinary<br />
musical mind, one that was greater and more perceptive than the others.»<br />
John Cage (1982, in an interview with Paul Hertelendy.– Richard Kostelanetz: Conversing with Cage. –<br />
New York: Routledge, 2003. – p. 5)<br />
«Schoenberg was a magnificent teacher, who always gave the impression that he<br />
was putting us in touch with musical principles. I studied counterpoint at his<br />
home and attended all his classes at USC [University of Southern California,<br />
1935] and later at UCLA [University of California Los Angeles, 1936] when he<br />
moved there. I also took his course in harmony, for which I had no gift. Several<br />
times I tried to explain to Schoenberg that I had no feeling for harmony. He told<br />
me that without a feeling for harmony I would always encounter an obstacle,<br />
a wall through which I wouldn’t be able to pass. My reply was that in that case<br />
I would devote my life to beating my head against that wall – and maybe that<br />
is what I’ve been doing ever since. In all the time I studied with Schoenberg he<br />
never once led me to believe that my work was distinguished in any way. He never<br />
praised my compositions, and when I commented on other students’ work in class<br />
he held my comments up to ridicule. And yet I worshipped him like a god.»<br />
John Cage (1965, in an interview with Calvin Tomkins. – Richard Kostelanetz: Conversing with Cage. –<br />
New York: Routledge, 2003. – p. 5)<br />
159
John Cage, Teeny Duchamp,<br />
and Marcel Duchamp<br />
Reunion<br />
(Toronto, Canada, 1968)<br />
Photographer:<br />
Shigeko Kubota<br />
Courtesy of the<br />
John Cage Trust<br />
160<br />
Autres lieux / Sonstige Orte<br />
15:30–22:00<br />
IIIIIIIIIIIIIIIIIIIIIIIIIIIIIIIIIIIIIIIIIIIIIIIIIIIIIIIIIIIIIIIIIIIIIIIIIIIII DIY INSTALLATION (7–100)<br />
15:30–22:00 Salon d’honneur<br />
John Cage: Mozart Mix (1991)<br />
..........................................................................................................................<br />
John Cages Mozart Mix, entstanden im Mozartjahr 1991 zum 200. Todestag,<br />
gilt als die erste Klanginstallation, die als numerische Auflage produziert wurde.<br />
Jedes der 36 Exemplare besteht aus 25 Tonkassetten, 5 Abspielgeräten und einem<br />
signierten Siebdruck in einem Holzkasten (10,2 x 86 x 81 cm). Beim simultanen<br />
Abspielen der (inzwischen aus konservatorischen Gründen auf CD überspielten)<br />
Loops entstehen zufallsbasierte Überlagerungen der von Cage ausgewählten<br />
Mozart-Samples.<br />
IIIIIIIIIIIIIIIIIIIIIIIIIIIIIIIIIIIIIIIIIIIIIIIIIIIIIIIIIIIIIIIIIIIIIIIIIIIIIIIIIIII INSTALLATION (7–100)<br />
16:00–19:00 & 19:45–21:45 Studio (Atelier)<br />
Noise Watchers<br />
Laurent Willkomm régie son<br />
John Cage: Bird Cage. Twelve tapes, to be distributed by a single performer<br />
in a space where people are free to move and birds to fly (1972)<br />
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Bird Cage (wörtlich: Vogelkäfig) ist die Anordnung von 4, 6, 8 oder 12 von Cage<br />
produzierten Aufnahmen in einem Raum, in dem das Publikum frei ist, sich zu<br />
bewegen und in dem Vögel frei sind umherzufliegen. Die Tonbänder enthalten<br />
drei verschiedene Arten von elektronisch bearbeiteten Klängen: Vögel, die Cage<br />
im Frühjahr 1972 in Pittsburgh, Pennsylvania und im Bombay Hook National<br />
Wildlife Refuge in der Nähe von Dover, Delaware aufgenommen hatte; Cage<br />
selbst, der Teile seines Gedichts «Mureau» (Music of Thoreau) singt; sowie Um-<br />
weltklänge. Die Anordung basiert auf Zufallsprozeduren nach dem I Ging. Am<br />
Ende der Partitur ist der damals aktuelle Vogelschutzvereins-Mitgliedsausweis von<br />
Cage der National Audubon Society abgedruckt (Ablaufdatum Februar 1973).<br />
IIIIIIIIIIIIIIIIIIIIIIIIIIIIIIIIIIIIIIIIIIIIIIIIIIIIII FILM CONCERT PERFORMANCE (7–100)<br />
16:15 Salle de répétition II<br />
Noise Watchers<br />
Mário Costa, Claude Lenners chess players<br />
Arthur Stammet electronic sounds for chess moves<br />
Aniela Stoffels flute (live improvisation)<br />
Film: {t∫es} (2012, création / Uraufführung) – 12’<br />
Mário Costa director and cinematographer<br />
Ciomara Morais, Angelo Torres, Matamba Joaquim acteurs<br />
Claude Lenners music<br />
Sandra Bogalho producer<br />
Leandro Vaz da Silva steadycam operator<br />
Raquel Laranjo make-up and wardrobe<br />
José Manuel Rodrigues gaffer<br />
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Der Auftrag, innerhalb der rainy days 2012 die verschiedenen Facetten von John<br />
Cage zu beleuchten, brachte uns auf die Idee, uns dem Schachspiel zuzuwenden.<br />
Cages lange und intensive Freundschaft mit Marcel Duchamp (der die Malerei<br />
zugunsten des Schachspiels aufgab) brachte die beiden Künstler des Öfteren am<br />
Brett zusammen, nicht nur zum edlen Zeitvertreib: Schach ist eine Kunst! So ist<br />
es auch nicht verwunderlich, dass die Begegnungen der beiden Erneuerer eines<br />
Tages die Welt zur Realisation eines Kunstwerks veranlasste, in dem Schach im<br />
Mittelpunkt steht.<br />
An diesem Event wollten wir anknüpfen, gleichsam mit einer Gedenkfeier an<br />
den historischen Moment sowie auch aus dem Bedürfnis heraus, unser eigenes<br />
Interesse am königlichen Spiel zu zelebrieren. Dabei lassen wir uns durch die
Autres lieux / Sonstige Orte<br />
16:45 & 17:15<br />
Happening-Kultur leiten und laden ein, einer Begegnung beizuwohnen, bei<br />
der verschiedene Ereignisse unabhängig voneinander gleichzeitig ablaufen. Der<br />
Zuhörer wird auch zum Zuschauer in einem Event, bei dem die Züge von zwei<br />
live spielenden Schachspielern von elektronischen Klängen begleitet werden, bei<br />
dem ein Film auf einer Leinwand zu sehen ist, der die Thematik des Schachspiels<br />
umkehrt (nicht der König wird ‹erkämpft›, sondern die Dame), und bei dem zu-<br />
sätzlich improvisierte Flötenklänge den Raum beschallen. Auge und Ohr dürften<br />
bei diesem Event genügend Abwechslung finden… (Claude Lenners)<br />
IIIIIIIIIIIIIIIIIIIIIIIIIIIIIIIIIIIIIIIIIIIIIIIIIIIIIIIIIIIIIIIIIIIIIIIIIIIIIIIII PERFORMANCE (7–100)<br />
16:45 & 17:15 Parking souterrain / Tiefgarage<br />
(Lieu de rencontre: <strong>Philharmonie</strong>, Entrée principale / Treffpunkt:<br />
<strong>Philharmonie</strong>, Haupteingang)<br />
«Hupkonzert»<br />
Noise Watchers Ensemble<br />
Marc Meyers, Marcel Lallemang, Netty Glesener direction<br />
Claude Lenners: Hupkonzert (Environment Music I) für 3 Dirigenten,<br />
8 Blechbläser, 3 Gruppen mit 4 Klarinetten und 2 Gruppen von 4 Autohupen<br />
(2012, création / Uraufführung) – ~8’<br />
En coopération avec le Conservatoire de la Ville de <strong>Luxembourg</strong><br />
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Ein einsames Autohupen in tiefer Nacht hat etwas von Großstadtromantik.<br />
Tagsüber gehört das Hupen zur üblichen Geräuschkulisse, an die wir gewohnt<br />
sind. Ein Hupsignal kann aber gewaltig stören, wenn man andächtig in einem<br />
Konzert sitzt, und unverhofft vom nervösen Verkehr auf der Straße ein ‹falscher›<br />
Ton sich in die Konzertmusik mischt. John Cage würde sich daran nicht stören;<br />
für ihn gehörte das Hupsignal eben dazu. Aus einem solchen Zufallsmoment<br />
heraus hat Cage eine eigene Philosophie entwickelt, die uns zu denken gibt…<br />
In diesem Ideenzusammenhang wollte ich ein Stück schreiben, welches Zufalls-<br />
momente nicht ausschließt und Hupsignale als ‹nicht störend› mit einbringt.<br />
Das Stück ist anlässlich des Festivals rainy days 2012 entstanden, welches den<br />
100. Geburtstag von John Cage feiert, von dem Pierre Boulez kürzlich in einem<br />
Interview sagte: «Er war kein Prophet, sondern ein Hofnarr!» (Claude Lenners)<br />
161