Music and life as one

Roland Dahinden wears many hats: composer, trombonist, sound artist, improviser, conductor… During this year’s Summer Courses for New Music in Darmstadt, he will present works by the US composer Anthony Braxton, with whom he has a long-standing collaboration.

 

Roland Dahinden mit zum Dirigieren erhobenen Hand vor schwarzem Hintergrund
Roland Dahinden. Foto: Marek Bouda

 

Friederike Kenneweg
Filled with music in different ways from morning to night – that’s how one can imagine Roland Dahinden’s everyday life. Two hours are always reserved for his trombone etudes, to which he has devoted himself daily for 40 years now. A time of full concentration on his instrument, in which nothing else has room. “It’s something I look forward to every day,” says Dahinden. “And after that, I look forward just as much to opening the score I’m currently composing, rehearsing, or whatever else is on the schedule. So everything has its place.”

 

Roland Dahinden and Hildegard Kleeb, photograph: Gary Soskin
Roland Dahinden and Hildegard Kleeb. Foto: Gary Soskin

 

Dahinden/Kleeb a long-time duo

When at home, there is also usually piano to be heard, as his wife, pianist Hildegard Kleeb, is practising for the next performances. The two have been playing together as a duo since 1987, but also in various trio constellations, for example with percussionist Alexandre Babel or electronic musician Cameron Harris. Both pursue their respective solo careers in different ways, but also play together in completely different projects or constellations.

“We talk about music when we get up in the morning and often still are when going to bed at night,” says Roland Dahinden. “That’s very precious, to share this enthusiasm with someone for so long and live it together.”

 

Panorama for trombone and piano by Alvin Lucier – 1993 – played by the duo Dahinden/Kleeb

 

Encounters with Anthony Braxton, Alvin Lucier, John Cage

Kleeb and Dahinden experienced a very formative time together in the USA during the 1990s. From 1992 to 1995, Roland was able to work as an assistant to Alvin Lucier and Anthony Braxton at Wesleyan University and get to know their special approach to sound, improvisation and jazz. The fact that this stay was possible at all was thanks to the intercession of none other than John Cage, who composed the piece Two5 for the duo Dahinden/ Kleeb in 1991.

 

Anthony Braxton and Roland Dahinden, photograph: Marek Bouda
Anthony Braxton and Roland Dahinden. Foto: Marek Bouda

 

Conducting in Prague

His relationship with Anthony Braxton and the precise knowledge of his work, moving between set music and improvisation, led Roland Dahinden to rehearse some of Braxton’s pieces from the Language Type Music series with the Prague Music Performance Orchestra in 2021. The ensemble, which moves between composed contemporary music, improvisation and jazz, was so satisfied with the collaboration that they asked him to be their permanent conductor. The 55 musicians in the ensemble all have their own musical projects and bring their own approaches to the table. Bringing them together to create an overall sound is always a challenge, says Dahinden – but one that he is only too happy to tackle.

 

 

Anthony Braxton in Darmstadt

This year, the PMP Orchestra, conducted by Roland Dahinden, is focusing on the world premiere of a monumental work by Anthony Braxton: the opera Trillium X. The four-and-a-half-hour multimedia opera, which Braxton worked on for over five years, consists of four acts and deals with the effects of turbo-capitalism – with global catastrophes, nuclear threats and the coexistence of humans and robots. After the premiere to be held on August 1st in Prague, the ensemble will travel to the Darmstadt Summer Course for New Music to record this great work. At the pre-opening concert in Darmstadt, the Orchestra, conducted by Dahinden, will perform a version of Braxton’s Language Music and Roland Dahinden will also perform as a trombonist in Thundermusic a new piece by Anthony Braxton, premiered by an ensemble put together especially for the occasion.

After this eventful summer, Roland Dahinden will continue to work on his own compositions. One thing is certain: everyday life in the Dahinden/Kleeb household will continue to be filled with music, however it sounds. And the next exciting challenge is just around the corner.
Friederike Kenneweg

 

Roland Dahinden Hildegard Kleeb PMP Orchestra Wesleyan University Internationale Ferienkurse für Neue Musik in Darmstadt

Termine:

5. August 2023: Language Music with Anthony Braxton and the PMP Orchestra. Conductor: Roland Dahinden

7. August 2023: First night of Thunder Music by Anthony Braxton, with Roland Dahinden playing the trombone

Neo Profile:
Roland Dahinden Hildegard Kleeb Alexandre Babel

GRiNM? = [GRiNäM]!

GRiNM Network-Conference: Experiences with Gender and Diversity in New Music – ZHdK, 14.-16. November 2019

GRiNM ©Berliner Festspiele

Gabrielle Weber
GRiNM standing for ‘Gender Relations in New Music’ – is an international, Berlin-based collective of curators. Born in 2016, during the Darmstädter Ferienkurse, it has since been present with targeted actions at several New Music festivals throughout Europe. GRiNM is now holding its first three-day international network conference on gender and diversity in Zurich, in collaboration with ZHdK’s Department of Cultural Mediation (DKV).  

Interview with Brandon Farnsworth, GRiNM member and curator of the conference. 

Can you explain this cryptic abbreviation GRiNM?
We are a heterogeneous collective with different backgrounds and attitudes, all representing and striving for diversity in New Music, drawing attention to our concerns through actions. We are united by our independence and by not having permanent positions in this domain, we are not a legal organization and don’t claim any financial funds for our GRiNM activities.  

‘Music and context or form and content cannot be separated.’ 

Tell us about the origins of your commitment to gender issues?
My own approach is rather intuitive. It comes from a curator’s point of view: How do institutional framework and musical production relate to each other and what effect do the framework conditions have on musical production? 

What does the term ‘gender’ stand for in this context?
Gender as label is a factor that reflects a lot already in purely statistical terms: 90% men – 10% women, when the going gets tough 80%-20% as a rule of thumb for teaching assignments, repertoire in concert halls, composition commissions at festivals, etc… Discussing statistics with such figures always led to topics such as Eurocentrism, social class, income and education levels. Gender involves a lot as it does not only refer to a sexual aspect. It is synonymous of diversity, questioning post-colonial exclusions as well as languages shaped by rich, well-educated, white, male Europeans.  

Donaueschingen Statistics mit freundlicher Genehmigung von GRiNM

“Gender is a collective term for different types of exclusion”.  

GRiNM was founded 3 years ago, in 2016. Gender balance (e.g. in Donaueschingen) has shifted considerably: did GRiNM play its part in the change? 
There is no proof of this. Our actions have certainly been significant. On one hand, we organized workshops on demand, twice at the Maerzmusik Berlin festival, 2017 as well as 2018, and made a sticker campaign with the provocative demand of 50%-50% or published statistics. On the other hand, we were present although uninvited at the edge of festivals, e.g. Darmstadt 2018. We offered a platform to talk about experiences around gender and diversity, which had no place within the festivals and noticed that there was a great need for it, but hardly any opportunities for exchange. With this conference we are now creating this most needed framework. 

GRiNM ©Berliner Festspiele

What is the aim of the conference?
Currently, numerous similar projects are taking place in different locations, but often hardly knowing about each other: there is a need for networking. We are creating a platform for the exchange of experiences and best practices or for tackling synergies – the size of the conference is unique. We have forty international participants.   

Can you tell us more about topics and formats at the conference?
There will be project presentations and discussion forums. The first day will be focusing on general definitions and problems, the second day on education. For example, the Association of European Conservatories will present what is being done to increase diversity on their side. On the third day the focus will be on ensembles and festivals. 
Interview Gabrielle Weber

The evening before the event, people will get the opportunity to meet during a network reception with SONART – Musikschaffende Schweiz and a concert in the Jazzclub Mehrspur, with two musicians from Berlin, Neo Hülcker and Stellan Veloce, as well as Fågelle from Sweden. 


Ear action for earprotection and objects, Stellan Veloce and Neo Hülcker, dark music days 2017

Is the conference open to all those who are interested and will the results be published?
Yes, the conference is open to the public and we do plan a publication of the contributions as well as a selection of best practices and statistics 

GRiNM Network Conference: Full Schedule, SONART – Musikschaffende Schweiz 

neo-profile: Zürcher Hochschule der Künste