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Music is always political! Luigi Nono 100
Celebrating the 100th birthday of composer Luigi Nono.
Luigi Nono (1924-1990) is considered a central figure of the musicalal avant-garde. A portrait by Florian Hauser on his 100th birthday, January 29, 2024.
Florian Hauser
They all turned up, every single one of them. Several thousand workers gathered during their break in order to hear what Luigi Nono has created on the basis of their sounds and noises. He had recorded the blaringly loud roars and hisses of the blast furnace of their steel factory and was now presenting his tape collage to them. Afterwards, the workers discussed it and began to ponder about their working conditions. ‘La fabbrica illuminata’ is the name of the piece that Luigi Nono dedicated to the steel workers in Genoa in the mid-1960s. A prime example of participation, one would say today. Ultra-modern, even to this day. That has always been Luigi Nono’s aim: he made music to create political awareness.
Luigi Nono was born into an educated Venetian middle-class household. When he was one year old, Benito Mussolini became the fascist dictator of Italy, which characterised Nono’s entire development, indeed his whole life. He wanted to fight against oppression, war and social injustice. The fact that he did is as a composer – he states – is only a coincidence, as he connected with the musical avant-garde after the Second World War.
It is a time of great change. A young generation of composers wanted to create a new musical world; the old expressions had had their day, clear structures were needed, as well as new compositional techniques and tools such as electronics.
Darmstadt in Germany became an important centre of the new emerging avant-garde.
Luigi Nono, Incontri für 24 Instrumente, UA 1955, in house-production SRG/SSR.
In 1955 – Nono was already firmly involved in the Darmstadt Summer Courses – he wrote a musical love declaration to his future wife, Nuria, Arnold Schönberg’s daughter: ‘Incontri’ for 24 instruments, the encounter of independent musical structures. ‘Just as two independent beings, different from each other, meet and though their encounter cannot become unity, it is still a meeting, a togetherness, a symbiosis’. After the premiere in Darmstadt, Nuria Schönberg and Luigi Nono became engaged and married shortly afterwards.
Three composers become the central figures at Darmstadt’s so-called ‘International Summer Course for New Music’: the Frenchman Pierre Boulez, Karlheinz Stockhausen, from Germany and Luigi Nono.
What initially began as a wonderful and intense artistic friendship soon changed and differences became apparent. Nono did not wish to make “l’art pour l’art”, like his colleagues. He wanted to get out of the ivory tower, onto the street, to the people. And set, for example, farewell letters from resistance fighters sentenced to death to music….
“The human, the political cannot be separated from music”
“The human, the political cannot be separated from music”, Luigi Nono used to say. He tried ever more urgently to put his finger on social grievances, using all musical means at his disposal: wild orchestral impulses, sounds on the verge of silence, collages, electronics or music that spreads throughout the room.
“To awaken the ears, eyes, human thinking, intelligence, the greatest possible inwardness’” these are the words Nono used to describe his eternal goal in 1983, ‘”to bear witness as a musician and a human being”.
Luigi Nono, No hay caminos, hay que caminar, UA 1987, in house-production SRG/SSR: Nono had read the phrase ‘Caminantes, no hay caminos, hay que caminar’ (Wanderer, there is no path, you just have to walk) on the wall of a monastery in Toledo. This became his last orchestral work and the title could almost stand as a motto for Nono’s entire compositional work. No hay caminos, hay que caminar. The dynamics and tempo are extremely restrained, with dramatic cracks in the sound emerging only for brief moments. Nono uses only the note G, with quarter-tone increases and decreases, i.e. seven notes at quarter-tone intervals in all octave ranges. The differences between pitches and timbres disappear; it is a magical game that radically rethinks the relationships between parameters.
His life, just as his music and music-making, is exhausting… and Nono was ultimately broken by his own demands. ‘I proceeded to self-destruction,’ he would say at the end and when he died in his mid-60s, he had to realise that even music cannot trigger revolutions.
What could be considered his legacy? His uncompromising attitude. His motto. Ascolta! Listen up!
Florian Hauser
broadcasts SRF Kultur:
Luigi Nono zum 100: Helmut Lachenmann und seine Erinnerungen an Luigi Nono, Musik unserer Zeit, 31.01.2024, editor Florian Hauser.
Er vertonte die Abschiedsbriefe von Widerstandskämpfern, online-Text srf.ch, 29.01.2024: author Florian Hauser.
Zum 100. Geburtstag: Luigi Nono: Fragmente – Stille. An Diotima, Diskothek, 29.01.2024, editor Annelis Berger
neo-profil:
Luigi Nono
Like an “electrified string quartet”: Ensemble Nikel
Summer series on the Swiss Music Prize: No. 2 : Ensemble Nikel.
Vibrant and virtuoso interpretations of contemporary music form the unique DNA of Ensemble Nikel led by electric guitarist Yaron Deutsch (*1978). Nikel almost acts as a pop band and transcends the image of an often radically loud electro sound. Nikel is “radically contemporary”, according to the justification for the Swiss Music Prize 2023 awarded to the Basel ensemble. Gabrielle Weber met Yaron Deutsch, electric guitarist and founder of the ensemble.
Gabrielle Weber
What does the prize mean for Nikel?
It is simply heartwarming and rewarding to be noticed and recognized for the work you do. Especially when there is no application involved, nothing prepared us for receiving the message from the committee, making it even more special. From the most pragmatic angle the award opens further doors for us and allows additional means to fulfil large scale plans we have for our future artistic growth.
An ‘alternative chamber music sound’ mixing electronic and instrumental sounds characterises the ensemble. Let’s talk about the beginning of Nikel: How did you find your way to contemporary classical music with the electric guitar – the combination is not obvious?
Playing the electric guitar, I was initially drawn to rock and jazz, but I felt like a ‘copy cat’ of an American culture that is not mine. Then, in 2005, I came across a piece by Luis Andriessen: ‘Hout’ (1991) for saxophone, electric guitar, percussion and piano. It felt like a ‘eureka’ moment. The piece mixes musical genres and elements in an uncomplicated way. I found a connection to my roots and the European classical music avant-garde felt like a sort of homecoming. It gave me a kind of direction in which soundscape I wanted to go.
With Hout we gave our first concert in Tel Aviv in 2006 and its instruments became the permanent line-up of Nikel. After a few changes, we have now been the regular line-up for about ten years: Brian Archinal on percussion, Antoine Françoise – piano, Patrick Stadler – saxophone and me on the electric guitar. We inspire each other.
..and what does the name mean?
Three points: First, I didn’t want a music related name, then it should feature ‘metal’ as is one of our timbres and lastly, it is reminiscent of Israeli artist Lea Nikel and her abstract colour-intensive works. She was active in Paris and New York in the sixties and seventies and died in Tel Aviv in 2005.
It’s like water drops slowly gathering into an organism.
How come you settled in Switzerland?
The fact that three out of four members live in Switzerland has been decisive. I have always been a ‘missionary’ of non-nation related music-making and ensembles without national nor local definition: for me it’s all about working with the musicians I’m most interested in, who inspire me, no matter where they live. That’s how I got to Patrick Stadler in Basel, for instance. But our vision is international. It’s like water drops slowly gathering into an organism.
Starting from an invitation for a concert we get together. Our task as artists is to be fascinating, interesting and also good enough to create a demand. It’s about passion: as long as we are passionate, we exist as a group.
Your first performance in Donaueschingen in 2012 was legendary – this vibrant energy and raging virtuosity, for example in the premiere of Michael Wertmüller’s piece “Skip a beat”, is a lasting memory for me: How did the invitation come about?
In 2010 we performed at the Darmstadt Summer Courses. The new artistic director at the time was Thomas Schäfer and he wanted to present new voices in his first edition, so he invited us and our performance had a great echo. Shortly after, Armin Köhler, Donaueschingen’s artistic director, called and invited us to the festival two years later.
Michael Wertmüller, Skip a beat, Ensemble Nikel, world creation Donaueschinger Musiktage 2012
What did this performance do for Nikel?
Performing in front of a large audience with international resonance was one thing: a career ‘boost’: the familiarity with the international scene was very important for our growth. But Donaueschingen also enabled us to play four world premieres by four important composers who wrote especially for us and our instrumentation. We wouldn’t have had the financial means to commission such pieces ourselves. We have played these completely different pieces all over the world ever since. This mechanism continues by the way: when the festivals invite us, they commission pieces for us which we then keep in our repertoire. We always get involved in the selection process and suggest composers we are enthusiastic about and this enthusiasm is tangible during our performances.
Our memory tends to remember extremes
Nikel’s performances are known for an often radically loud electronic sound…
First of all, I have to reject this ‘loud’ ensemble definition as we also play many subtle pieces, quiet, tactile music. Probably our virtuoso quality leads to the impression: “the musicians can make walls shake…. “ (laughs…)
Masculine power, is not our thing. Our memory tends to remember extremes. But so much happens outside the extremes, in fact most…
We are like an ‘electrified string quartet’, an organism that works very well together and whose sound blends very well. We are able to finetune and find balance between loud and soft.
In 2017, Nikel released a comprehensive CD for the ensemble’s 10th anniversary – do the chosen pieces reflect the characteristic of the specific “Nikel sound”?
Quite hard to say, especially since the first decade was very formative so from a bird’s eye view the collection and curation of the pieces summarises our characteristics but once zooming in you notice that each work, though capturing predominant qualities of the group, still keeps our artistic character on the elusive end.
Stefan Prins, Fremdkörper 2, Ensemble Nikel 2010 (Decennial-Box).
You just got back from the Darmstadt Ferienkurse where you performed new pieces by Jennifer Walshe and Matthew Shlomowitz: what was the atmosphere like and how did it feel to be back at one of Nikel’s first important performance venues?
Darmstadt was fantastic: it was our fourth visit there. We played a piece we feel very comfortable with, both artistically and personally: an extraordinary collaboration of over two years with Matthew & Jennifer, who also accompanied us on stage. With two sold-out shows and a very positive review in the New York Times, it was a perfect premiere for the project.
Minor characters, Matthew Shlomowitz / Jennifer Walshe, Ensemble Nikel, world creation Ferienkurse Neue Musik Darmstadt 2022.
What’s next?
We have a new album (Radio Works) coming up with pieces commissioned and recorded by various European radio stations during the pandemic, including the Shlomowitz/Walshe piece followed by a world premiere of a four-piece cycle by composer Sarah Nemtsov for nikel and orchestra, due in Cologne and Essen with the WDR Symphony Orchestra. Our new season in Switzerland will begin in January 2024 with a world premiere by John Menoud.
Gabrielle Weber
Sarah Nemtsov, Tikkun pour orchestre, part 1 of the tetralogy, Ensemble Nikel, Camerata Ataremac, Ensemble Vertigo, conductor: Peter Rundel, Festival Les amplitudes 2022, SRG/SSR in-house production.
Kritik Darmstadt 2023: Seth Colter Walls, New York Times, 13.8.2023
A Decade, Decennial-Box 2017, 4 CDs mit Doku-DVD und Buch zum Ensemble.
Yaron Deutsch, Live in New York City, 2022
Yaron Deutsch, Jennifer Walshe, Matthieu Shlomowitz, Sarah Nemtsov, Peter Rundel, WDR Sinfonieorchester, Brian Archinal, Patrick Stadler, Thomas Schäfer, Armin Köhler
Schweizer Musikpreise 2023:
Grand Prix Musik: Erik Truffaz
Musikpreise:
Katharina Rosenberger, Ensemble Nikel, Carlo Balmelli, Mario Batkovic, Lucia Cadotsch, Sonja Moonear, Saadet Türköz
Spezialpreise:
Helvetiarockt, Kunstraum Walcheturm, Pronto
broadcasts SRF Kultur:
SRF Kultur online, 11.5.23: Trompeter Erik Truffaz erhält den Grand Prix Musik, Redaktion Jodok Hess.
Musikmagazin, 22.7.23, Carlo Balmelli: Ein Leben für die Blasmusik, Redaktion Annelis Berger, Musiktalk mit Carlo Balmelli (ab Min 9:40).
Musikmagazin, 17.6.23, Inspirationen mit offenem Ende: Die Vokalkünstlerin Saadet Türköz, Redaktion Florian Hauser, Musiktalk mit Saadet Türköz (ab Min 8:38).
Musikmagazin, 13.5.23, Schweizer Musikpreise 2023, Redaktion Florian Hauser, Musiktalk mit Katharina Rosenberger (ab Min 4:55)
neo-profiles:
Ensemble Nikel, Michael Wertmüller, Donaueschinger Musiktage, John Menoud, Antoine Françoise, Les amplitudes, Swiss Music Prizes
music as communication: composer Katharina Rosenberger
The Swiss Music Prizes will be awarded for the tenth time in 2023: in addition to the main prize, won by jazz trumpeter Erik Truffaz, another 10 prizes and special prizes will be awarded during Musikfestival Bern on September 8. Neoblog portrays some of the contemporary music related prize winners, with Katharina Rosenberger, composer, professor of composition in Lübeck and co-director of the Zurich festival for contemporary music Sonic Matter, starting the series. Katharina Rosenberger works with cross-media combinations between music, text and image and usually also involves the audience in the performance processes. She is all about communication, dialogue and participation in contemporary music. An interview by Florian Hauser.
An interview by Florian Hauser.
Florian Hauser
To receive one of the prestigious Swiss music prizes is something special and testifies to how highly your work is appreciated. What about the appreciation of your work in everyday life? You have to do what you have and want to, which is not necessarily compatible with the masses. You don’t make blockbuster films… How does your audience react to your art?
I am always very touched when people approach me and react to my music. It’s people I don’t know or people who are not insiders, i.e. not musicians themselves. They often react very positively – mainly because they discovered something new. When they get involved with this new, unknown thing and are positively surprised, it makes me very happy. Actually, these are the ideal fans who come with an open mind and just want to listen… Of course, there are also moments when the audience reacts very ambivalently. From: ‘For God’s sake, what kind of piece was that!’ to: ‘Wow, that’s the greatest thing I’ve heard in a long time’.
Communication with the audience is very important to you per se. You interact with people, also involving the public in performance processes. Why?
Let me answer with an example: I called a duet (within a video opera that premiered at the Theaterspektakel Zurich) La Chasse. Two singers face each other at a certain distance. The audience sees them only in profile. And then the voices begin to chase each other. At first only with sounds like wah, wah, wah! Very abstract, very reduced. There is no melody and it’s not so easy to listen to. But when people from the audience came up to me and talked about the experience of how powerful these sounds were in the space, how much the bodies became part of the structure of the music, a light went on: The connections between sound and space, performers and audience are incredibly important. It is not primarily about the music itself, I mean, the self-sufficiency of the music, but it is really about dialogue and exchange with the audience as well as the environment.
Katharina Rosenberger, La Chasse von Katharina Rosenberger, instrumental-version by Landmann-/Stadler-Saxofonduo, recorded NYC 2018.
Can you tell us about another example?
The Urban morphology project, a walk-in concert installation that has music-theatrical elements and is also participatory. The audience is invited to actively participate. It’s about urban change: what happens, for example, when luxurious new buildings cause neighbourhoods we grew up in to disappear? When the place I feel I belong to suddenly no longer exists? In other words, places where there is room for so many memories: When that is wiped away, what happens to us? What happens when the architectural, social, sonic components structures we orient ourselves by are gone?
The public could decide how to move. Whether visiting a performance island first or rather watch a video, attend a normal concert situation with a very focused listening or ride a bicycle in an installation to generate electricity and light.
This way, the public could also have a say in how to put the different pieces of information together. In projects like this, I always notice how important the cross-media connections are between text and music, but also image and music, spaces, bodies. How spaces open up for the audience, where they can connect to situations related with their everyday lives. This always gives rise to new questions: how do I hear music, how is music performed? And new insights emerge, which is fascinating.
You are very communicative…
Yes, of course. I also really like to be in contact with the musicians I work with for longer periods of time.
There are composers and colleagues of yours, for whom it is perfectly sufficient to sit at a desk to compose and design structures. That was never an option for you?
Sure, one doesn’t exclude the other, does it? Of course, there are phases when I am extremely isolated. But when I deal with cities, I want to walk through the streets, get to know the people. To explore the core, the content of a project. For example, in the installation quartet – bodies in performance, where I only filmed the back muscles of four musicians. You can imagine that depending on the musical instrument you play, the many, many years of practising shape the back muscles quite differently. Each performance had its own image and only the back that was playing appeared. That was a completely new way for the audience to experience performance, by seeing sound through the muscles.
In Katharina Rosenberger’s sound and video installation The journey, the singers were also filmed from unusually close perspectives, Neue Vokalsolisten Stuttgart, directed by Lutger Engels 2020
In any case, it’s a long way to the result, a common path. But how do you come up with such ideas? You walk through the world with your aesthetic antennas wide open, and bang, a theme, a topic jumps out at you?
My common thread is the human being, be it the performer with his or her body, be it the audience with their ears, eyes and bodies. And what is it about? What is actually touching us? That is the question. What is the significance of music, even in times of crisis, or of reorientation? I’m not claiming that I as an artist present this in a groundbreaking way in my work, but it’s about questioning and exploring new sonic, pictorial situations. It’s about dealing with the moment. It’s not a must. An audience never has to do something mandatory, but I want to open the doors in order to make it possible.
Florian Hauser
Schweizer Musikpreise 2023:
Grand Prix Musik: Erik Truffaz
Swiss Music Prizes:
Katharina Rosenberger, Ensemble Nikel, Carlo Balmelli, Mario Batkovic, Lucia Cadotsch, Sonja Moonear, Saadet Türköz
Spezialpreise:
Helvetiarockt, Kunstraum Walcheturm, Pronto
broadcasts SRF Kultur:
Musikmagazin, 13.5.23, Schweizer Musikpreise 2023, Redaktion Florian Hauser, Café mit Katharina Rosenberger (ab Min 4:55)
SRF Kultur online, 11.5.23: Trompeter Erik Truffaz erhält den Grand Prix Musik, Redaktion Jodok Hess:
Musik unserer Zeit, 11.1.2023: Komponieren! Mit Katharina Rosenberger, Redaktion Florian Hauser
Musik unserer Zeit, 8.12.2021: «Sonic Matter» – ein aussergewöhnliches Musikfestival in Zürich, Redaktion Moritz Weber
Musik unserer Zeit, 8.8.2018: Shift – eine Begegnung mit der Komponistin Katharina Rosenberger, Redaktion Cécile Olshausen
neoprofiles:
Katharina Rosenberger, Swiss Music Prizes, Festival Sonic Matter, Ensemble Nikel, Kunstraum Walcheturm
Dieter Ammann turns 60: a portrait
Dieter Ammann, composer of major orchestral works and self-confessed slow writer, celebrates his 60th birthday with concerts by the Basel Sinfonietta and the Lucerne Symphony Orchestra, among others.
Music editor Florian Hauser met him for a personal portrait interview:
One soul
…of a man. Who, if he takes his time, will ask, tell, laugh and live, during an interview for example, over coffee and Easter eggs and tobacco, and very slowly, imperceptibly, gets to the point, through various layers of concentration. Or – that can also be the case – the associations jump and the topics chase each other. A meeting with Dieter Ammann is a direct expression of what is going on in his mind. Where they live: the …
Two souls
… in his chest. From which he sucks energy: There’s the improvising, forward-rushing one, and the composing, reflecting one. They fuel each other and one appears like the reverse image of the other. When they meet, forces that pull in different directions and stretch the music to breaking point are being created. When improvising, the performance, the fellow musicians, the groove forces you to stay in the flow and keep going. When he has an idea, he plays it. If, on the other hand, he has an idea as a composer, then he dissects it, puts it to test. That’s when this unconscious is stopped. Time is stopped. He then tries, experiments, tests the ideas to see if they are any good and how good they are. In this way, the music Ammann composes is like a frozen improvisation. “When I’m finished with a piece,” says Ammann, who is a slow writer, “it’s like a piece of jewellery for me, a gem that I’ve polished. I then put it away, look in the next box – which is completely empty and I start all over again.”
From 2014 to 2016, slow writer Dieter Ammann composed his orchestral work “glut”, here in the recording with the Lucerne Festival Academy Orchestra, Dir. George Benjamin, September 1, 2019, KKL Lucerne Festival, SRG/SSR production
Many souls
Dieter Ammann has jammed with old rocker Udo Lindenberg as well as jazz legend Eddie Harris, he played trumpet, saxophone and bass with the Donkey Kongs and in Steven’s Nude Club, and performed at the Cologne, Willisau, Antwerp and Lugano jazz festivals.
He studied composition and theory with Roland Moser, Detlev Müller-Siemens, Witold Lutoslawski and Wolfgang Rihm. Then, at the beginning of the 1990s, the Ensemble für Neue Musik Zürich presented him during a concert with composing jazz musicians. That was an initial spark with many consequences: first a CD, then awards and he became more and more known, as composer-in-residence in Davos for example and subsequently at the renowned Lucerne Festival. One prize after the other: Swiss Music Prize, main prize of the IBLA Foundation New York, sponsorship prize of the Ernst von Siemens Music Foundation (one day he might receive the Siemens main prize, ‘Nobel Prize’ of music…).
What is so special about Amman’s fast, vital music? That it knows no idle time. It bears constant movement as well as the unexpected and it can constantly implode or explode.
With the result that the energy of his music immediately comes through, it is not the kind of music where you feel you have to bite through a thick shell before you can get to the core. No, the connection is quickly established, one is not only invited, but virtually pulled and carried along.
Even more souls
This is something that his students sense and benefit from as well. For over 30 years, Ammann has taught classical composition, jazz composition and arrangement as well as classical theory at the Lucerne University of Applied Sciences and Arts. He encourages and challenges his young colleagues, because he is by no means the kind of teacher that whishes to breed successors. “I don’t want to force students into predefined aesthetic directions, but rather encourage them to go their own way and develop the musical language that is already present in each and every one of them.”
Two orchestral works by Dieter Ammann’s students will also be premiered at the Basel Sinfonietta’s birthday concert, including one by young composer Aregnaz Martirosyan (*1993), orchestral piece Dreilinden: first creation Armenien national Philharmonic Orchestra, Mai 14th 2021
Where else will his own language lead him? In which direction will it develop? No idea and that is just fine. “Perhaps it is precisely this uncertainty and this permanent search that really attracts me to composing. The exciting thing about composing is this “it’s-so-not-there-yet” and I have to work it out somehow.”
Ammann is the kind of guy who can watch the work do itself and observe from a bird’s eye view, so to speak. “I’m not the bird, I’m more the frog. When I see two crossed blades of grass in front of me, I have to decide whether to go around to the right or left, slip through the middle or jump over. But I can’t look at the blades of grass from above. An example: vertically, i.e. harmonically, every tone has to be set is in a meaningful relationship to every other tone. It is obvious that this leads to an extremely lengthy decision-making processes, especially in an orchestral texture. As an intuitive composer, I cannot shift any responsibility to the predisposition of the musical material, since these actually don’t exist. Apart from the pitch, the same applies to all other musical aspects, including the unplannable development of the overall form: in all matters, I am the only, always uncertain (and insecure) judge.”
Ad multos annos, dear frog!
Florian Hauser
Udo Lindenberg, Eddie Harris, Detlev Müller-Siemens, Witold Lutoslawski, IBLA-Foundation – New York, Ernst von Siemens Musikstiftung, Jazzfestival Willisau, Estival Jazz Lugano
Basel Sinfonetta «Musik am Puls der Zeit», 23.5.22: Dieter Ammann – Sechzig Jahre im Groove, talk with Robin Keller and Baldur Brönnimann
birthday concerts:
Basel Sinfonietta:
Donnerstag, 26. Mai, 19h, Stadtcasino Basel : 5. Abo-Konzert «60 Jahre im Groove», Dieter Ammann: «Unbalanced instability» für Violine und Kammerorchester (2013), «Core» (2002), «Turn» (2010), «Boost» (2000/01) für Orchester, Dirigent Principal Conductor Baldur Brönnimann, Solistin Simone Zgraggen (Violine)
18h Pre-Concerttalk Dieter Amman & Uli Fussenegger (Leiter Zeitgenössische Musik Hochschule für Musik FHNW) / Vorkonzert Studierende FHNW
Sonntag, 22. Mai,19h, Club auf dem Jazzcampus Basel: Dieter Ammann live in concert im intimen Rahmen als Improvisator auf Keyboards, an der Trompete und am Bass, mit Jean-Paul Brodbeck (Piano), Christy Doran (Guitar) und Lucas Niggli (Drums, Percussion)
Luzerner Sinfonieorchester:
Dieter Ammann zum 60. Geburtstag: “Glut”, 31. 5. 2022, KKL, 19:30h, Dir. Michael Sanderling
Sendungen SRF 2 Kultur:
Musik unserer Zeit, Mittwoch, 18.5.2022, 20h / Samstag, 21.5.2022, 21h: Durchwachte Nacht. Mit und zu Dieter Ammann, Redaktion Florian Hauser.
Musik unserer Zeit, Neue Musik auf dem Sofa, Mittwoch, 23.2.2022: u.a. über glut von Dieter Ammann, mit Doris Lanz und Marcus Weiss, Redaktion Benjamin Herzog
neoblog, 21.8.2020: Ich bin einer der langsamsten Komponisten Europas, Dieter Ammann im Gespräch zum Film Gran Toccata, Autorin Gabrielle Weber
Neo-Profiles:
Dieter Ammann, Basel Sinfonietta, Wolfgang Rihm, Roland Moser, ensemble für neue musik zürich, Aregnaz Martirosyan, Davos Festival young artists in concert, Lucerne Festival Contemporary, Swiss Music Prices, Luzerner Sinfonieorchester
Our memory tends to remember extremes
Gabrielle Weber
Donaueschingen’s centenary – a historic event: since 100 years now, this defining institution commits to contemporary music’s preservation and spread. The most important European festival re new music – renown place of world premieres, encounter and debate – will celebrate its 100th birthday with numerous events from October 14 to 17, featuring many historic friends and companions.
The young, Swiss-based ensemble Nikel will be part of this celebration. Yaron Deutsch, electric guitarist and head of Nikel, has already been to Donaueschingen several times with the ensemble and as a soloist. For its anniversary, Nikel will perform new pieces by Rebecca Saunders and young Turkish composer Didem Coskunseven. Deutsch is also the soloist of a new piece by Stefan Prins with the Orchestre Philharmonique du Luxembourg.
Founded in 2006, Nikel now tours worldwide and celebrates its fifteenth anniversary. Its unusual instrumentation, with electric guitar, piano, saxophone and percussion dates back to the very first performance and provides their characteristic ‘alternative chamber music sound’ with a mixture of electronic and organic sounds. The constantly expanding repertoire consists exclusively of original pieces composed for the ensemble.
I had an early morning talk with Yaron Deutsch from his hotle room in Parma via Zoom, on a Saturday. He is a morning person and was up since 4:30am. After performing at the Traiettorie festival for contemporary music, he would head to rehearsals in Bern.
How did you find your way to contemporary classical music with the electric guitar…?
In 2005 I was searching for my own musical identity. As electric guitarist I was playing mainly rock and jazz, but felt like a ‘copy cat’ of an American culture that doesn’t belong to me. I then came across a piece by Luis Andriessen: ‘Hout‘ (1991) for saxophone, electric guitar, percussion and piano, that felt like a ‘eureka’ moment. The piece mixes musical genres and elements in a straightforward way. I found a connection to my European roots that felt like home in the European classical music avant-garde, that somehow showed me the direction of the musical landscape I was looking for.
How did Nikel come about and why this line-up?
With ‘Hout‘ we gave our first concert in Tel Aviv and its instrumentation became Nikel’s permanent line-up. After a few changes, we now have a regular line-up since almost ten years: Brian Archinal on percussion, Antoine Françoise, piano, Patrick Stadler, saxophone, and me on electric guitar. We inspire each other.
Where does the name Nikel come from?
Three points: First, I didn’t want a music related name, then it should feature ‘metal’ as is one of our timbres and lastly, it is reminiscent of Israeli artist Lea Nikel and her abstract colour-intensive works. She was active in Paris and New York in the sixties and seventies and died in Tel Aviv in 2005.
It’s like water drops slowly gathering into an organism.
How come you settled in Switzerland?
Three out of four members live in Switzerland. I have always been a ‘missionary’ of non-nation related music-making and ensembles without national nor local definition: for me it’s all about working with the musicians I’m most interested in, who inspire me, no matter where they live. That’s how I got to Patrick Stadler in Basel, for instance. But our vision is international.
It’s like water drops slowly gathering into an organism.
Starting from an invitation for a concert we get together. Our task as artists is to be fascinating, interesting and also good enough to create a demand. It’s about passion: as long as we are passionate, we exist as a group.
Anne Cleare, the square of yellow light that is your window (excerpt), UA 2014 Ensemble Nikel
How did your first performance in Donaueschingen come about?
In 2010 we performed at the Darmstadt Summer Courses. The new artistic director at the time was Thomas Schäfer and he wanted to present new voices in his first edition, so he invited us and our performance had a great echo. Shortly after, Armin Köhler, Donaueschingen’s artistic director, called and invited us to the festival two years later. In 2012 we were there for the first time.
What did this performance do for Nikel?
The performance in front of a large audience with international resonance was one thing. But Donaueschingen also enabled us to play four world premieres by four important composers who wrote especially for us and our instrumentation. We wouldn’t have had the financial means to commission such pieces ourselves. We have played these completely different pieces all over the world ever since.
This mechanism continues by the way: when the festivals invite us, they commission pieces for us which we then keep in our repertoire. We always get involved in the selection process and suggest composers we are enthusiastic about and this enthusiasm is tangible during our performances.
For the anniversary edition you’ll be performing a new piece by Rebecca Saunders, with contralto Noa Frenkel and another piece by the young Turkish composer Didem Coskunseven: how did this choice of repertoire come about?
Rebecca Saunders had wanted to work with us since a long time, because I had interpreted pieces by her in other contexts, with Klangforum Wien for example. But it never happened. Then we got lucky, as a large commission could not be realized due to the pandemic, so Rebecca suggested to work on a piece with us and a singer as an alternative. The composer Didem Coskunseven came up with the idea in a conversation with Björn Gottstein.
Nikel’s performances are known for an often radically loud electronic sound – How does Nikel work with the voice…?
First of all, I have to reject this ‘loud’ ensemble definition as we also play many subtle pieces, quiet, tactile music. Probably our virtuoso quality leads to the impression: “the musicians can make walls shake…. “. (he laughs…)
Masculine power, is not our thing. Our memory tends to remember extremes. But so much happens outside the extremes, in fact most…
After the first week of rehearsals, Rebecca emphasized the good balance between the singer and us. We ‘serve’ her music, give the singer space and found a specific sound for the piece. We are like an ‘electrified string quartet’, an organism that works very well together and whose sound mixes very well. We are able to finetune and find balance between loud and soft.
Stefan Prins, Fremdkoerper 2 (excerpt), UA 2010 Ensemble Nikel
Is there a specific Nikel sound?
We always play pieces that are eclectic, mixing elements, but never random or unnecessary. A clear musical, not one-dimensional line connects everything. Nikel concerts always sound different. In this concert you can hear two completely different sides, two completely different timbres.
And how would you describe the timbre of Didem Coskunseven’s piece?
Her style cannot be summed up in one sentence, that wouldn’t do her justice.
It’s safe to say that she works with minimalist material, in a very colourful, expressive and subtle way, not loud. Through continuity and minimalism, variations come to fruition.
Didem Coskunseven, Day was departing, UA Manifeste 2021, Ircam / Paris
Let’s step back a bit: was the first appearance in Donaueschingen a career start for Nikel?
Donaueschingen was not the start, but it was a decisive ‘boost’: the familiarity with the international scene was very important for our growth.
Making music is comparable to sports. We always want to give the best…
You are part of the 100th anniversary celebration: what does that mean for Nikel?
There are two answers: a concert is a concert. Making music is comparable to sports. We always want to give our best, no matter how big or small the setting.
But having said that it’s an incredible honour. We are historically conscious people and musicians and Donaueschingen is a ‘ historical platform ‘, the longest existing New Music Festival. We are grateful that our work is so appreciated that we were asked to be part of this important celebration.
Interview: Gabrielle Weber
____________________________
Ensemble Nikel, Louis Andriessen, Thomas Schäfer, Armin Köhler, Björn Gottstein, Didem Coskunseven, Stephen Menotti, Trio Accanto
Performances Ensemble Nikel / Yaron Deutsch @Donaueschingen:
Friday, 15.10.2021, 20h: solo performance, world premiere by Stefan Prins, Orchestre Philharmonique du Luxembourg directed by Stefan Volkov.
Sunday, 17.10.2021, 11h: Ensemble Nikel and Noa Frenkel (contralto), World Premiere Rebecca Saunders and Didem Coskunseven
November Music, s’Hertogenbosch:
12.11.21: retake concert Donaueschingen: UA Rebecca Saunders / Didem Coskunseven
WienModern Festival:
14./27./28.11.21: Werke von Thomas Kessler, Klaus Lang, Hugues Dufourt, Leitung Jonathan Stockhammer
broadcasts SRF 2 Kultur:
Künste im Gespräch, 14.10.21, 9:00 Uhr: 100 Jahre Donaueschinger Musiktage, autor Florian Hauser
Kultur Aktuell, 18.10.21, 8:15 Uhr: autor Florian Hauser
Musik unserer Zeit, 3.11.21, 20 Uhr: 100 Jahre Donaueschinger Musiktage, autor Florian Hauser
neo-profiles:
Ensemble Nikel, Donaueschinger Musiktage, Rebecca Saunders, Beat Furrer, Alexandre Babel, Lucerne Festival Contemporary Orchestra, Daniel Ott, Johannes Kreidler, Marcus Weiss, Thomas Kessler, Jonathan Stockhammer
Orchestra of excellence for new music
Benjamin Herzog
Lucerne Festival Contemporary Orchestra is the name of a newly created orchestra, whose activity began on August, 13 at the Lucerne Festival. The orchestra is strongly integrated into the newly created “Contemporary” section, a distinctive structure for the performance of new music within he Lucerne Festival. Felix Heri, head of the Contemporary section, explains what is so unique about it.
Its components are between 30 and 35 years old, both current and former Lucerne Festival Academy participants and since this year they are part of an orchestra that, according to Felix Heri, is intended to become an “orchestra of excellence for new music”. Its ambition is similar to that of the Lucerne Festival Orchestra (LFO), founded almost twenty years ago. Under the direction of its first conductor Claudio Abbado, this orchestra was said to perform in an almost magical way.
35-year-old Felix Heri is the head of the Lucerne Festival’s new “Contemporary” section. He studied clarinet in Lucerne and cultural management in Basel, after six years of managing director for the basel sinfonietta, he is now directing the Lucerne Festival Contemporary.
Lucerne Festival Contemporary is an umbrella under which a three-part structure is organically growing and constantly evolving. Academy, Orchestra and a new festival (instead of the cancelled Piano Festival) in November, called Lucerne Festival Forward. “We have a unique network of 1300 people around the world,” Heri explains, “musicians who attended the Festival Academy at some point and played in the Academy orchestra at the time or in the alumni orchestra, inside and outside the festival, of which the best and most motivated now play in the Lucerne Festival Contemporary Orchestra (LFCO).”
Founder Boulez
The Festival Academy’s goal is to deepen knowledge of how new orchestral music is played. The academy has been founded in 2003 by Pierre Boulez, who died in 2016, as a kind of master class for new music, led for five years by Wolfgang Rihm. Festival visitors have so far been able to enjoy the results of this work during the orchestra’s academy concerts. “An orchestra that – even if only very slightly – had the scent of a student orchestra,” as Heri says today.
Magic attraction
In 2013, the former academics formed an “alumni orchestra”, shifting gera to the next, more professional level. Apparently, the Lucerne magnet works, as those who have studied here under greats such as Pierre Boulez or Wolfgang Rihm want to come back. The alumni orchestra also played outside the festival and outside Lucerne, performing premieres in New York, London, Beijing, Zurich as well as Lucerne of course testify the ensemble’s network character and charisma.
Wolfgang Rihm, Dis-Kontur für grosses Orchester (1974/84): Lucerne Festival Alumni, conductor Ricardo Chailly, 8.9.2019 KKL Lucerne Festival, in house production SRG SSR
Logical further development
The now newly founded LFCO is the logical development of this structure, merging the two former orchestras, which were never completely separate in terms of personnel anyway. “All members of the LFCO have attended the Festival Academy at least once,” explains Heri. “This is where the best and most talented of those young talents play.” In addition, there is one “leader” per segment, fifteen in all. These leaders select the other members of their segment, who gain the right to play in the orchestra for a maximum of two years. These mutual decisions allow an organic growing.
Matthias Pintscher (Luzern, 20.03.2016) © Priska Ketterer / zVg Lucerne Festival
Excellence meets from excellence
The leaders, to name a few examples, are currently the four members of the Arditti Quartet, as well as Dutchman Marco Blaauw for the trumpets and pianist Nicolas Hodges for the keyboard instruments. The fact that the LFCO does not judge its members according to which rung of the career ladder they are on, but rather according to personal dedication, is demonstrated by the fact that there is no age limit and that neither academics nor already established musicians are excluded. Thus, musicians from Klangforum Wien, Ensemble Intercontemporain or Frankfurt’s Ensemble Moderne also play in the LFCO.
In this respect, the new Lucerne Modern Orchestra is very similar to its older brother, the Lucerne Festival Orchestra. Both orchestras feature professionals from the leading orchestras of their genre. In future, both orchestras will have an equally strong external impact on the festival.
With or without director? – Participation of the orchestra
But unlike the LFO, currently led by Riccardo Chailly, the new orchestra has no chief conductor. “We are discussing whether this is necessary,” says Felix Heri. Such a position having advantages as well as disadvantages, he adds. “The advantages are clear: more charisma, renown, a different kind of network. But it’s also good to select the conductors specifically in each case and for each project.” Another choice, this one, in which LFCO relies on mutual decision by all members. Participation is also important in the choice of the programme, as the artistic orchestra’sartistic director, Wolfgang Rihm, is still responsible for the summer program. However, the programme of the new autumn festival “Forward” will be influenced by the l orchestra’s leader themselves, acting collectively as co-curators.
Barblina Meierhans, Auf Distanz, for Bassflöte and kleines Ensemble (UA 2020), Lucerne Festival Alumni, conductor Baldur Brönnimann, Lucerne Festival KKL 23.8.2020, in house production SRG SSR
A showcase for new music
This year, LFCO will already perform at the renowned Donaueschingen Music Festival and the Berlin Festival and an international tour is planned for 2022. However, according to Heri, the autumn festival in Lucerne in particular is intended to become a “showcase of new music”, highlighting current trends from Europe, the USA and Asia. This is made possible by the global networking of the orchestra’s members as well as their different leaders.
Collective mastermind
Heri is familiar with fully democratic structures within an orchestra from his earlier work with the “basel sinfonietta”. Although LFCO does not go that far, mutual decisions and discussions generate a strong sense of identification,” emphasizes Heri. This is much more necessary in an orchestra specializing in new music than in a classical symphony orchestra. “We take people and their ideas seriously.” which, he says, is a unique starting point. “We are a collective mastermind.”
He furthermore stresses: “For me, the orchestra should set standards. We want to be brave and perform new concert formats. The integration into the Lucerne Festival is of course an advantage, at the same time, however, we wish to take the necessary liberties to become a counterpart to the Festival Orchestra. That is our goal, that is what we measure ourselves by.”
Benjamin Herzog
The LFCO also performs this year’s Lucerne Theatre opera production in co-production with the Lucerne Festival, Mauricio Kagel’s “Staatstheater” (premiere September 5), programme until September, 19.
Lucerne Festival Contemorary Orchestra’s concerts at Lucerne Festival 2021
The new autumn festival for contemporary music Lucerne Festival Forward takes place from november 19. until 21. 2021.
Klangforum Wien, Ensemble Intercontemporain, Ensemble Modern, Donaueschinger Musiktage, Riccardo Chailly, Felix Heri, Pierre Boulez, Wolfgang Rihm, Mauricio Kagel, Claudio Abbado, Arditti Quartet, Marco Blaauw, Nicolas Hodges
broadcasts SRF 2 Kultur:
neoblog, 1.8.21: Engagement für neue und neuste Musik – Rebecca Saunders composer in residence @ Lucerne Festival 1, Text Gabrielle Weber
Kontext – Künste im Gespräch 26.8.2021: Rebecca Saunders: composer-in-residence Lucerne Festival, Redaktion Annelis Berger
Kultur kompakt Podcast, 30.8.2021 (ab 4:59min): Lucerne Festival Contemporary Orchestra, Redaktion Florian Hauser
Musik unserer Zeit, 22.9.2021, 20h: Rebecca Saunders, Redaktion Annelis Berger
Neue Musik im Konzert, 22.9.2021, 21h: Portraitkonzert Rebecca Saunders 2, u.a. the mouth & skin
neo-profiles:
Lucerne Festival Contemporary Orchestra, Wolfgang Rihm, Lucerne Festival Academy, Lucerne Festival Contemporary, Basel Sinfonietta
Lucerne Festival – Commitment to new and newest music
Gabrielle Weber: Rebecca Saunders: composer-in-residence @ Lucerne Festival1
The celebrated British composer Rebecca Saunders is composer-in-residence at Lucerne Festival, featuring eight Swiss premieres and one world premiere of hers, many of which to be performed by the new ‘Lucerne Festival Contemporary Orchestra’. This represents the festival’s long-term commitment to new and cutting-edge music and forms the artistic core of ‘Lucerne Festival Forward’, the new autumn festival for contemporary music.
Neoblog portrays the new focus on contemporary music at Lucerne Festival with several contributions and posts: The first focusing on Rebecca Saunders – composer-in-residence during the summer festival.
Gabrielle Weber
Rebecca Saunders, winner of the Ernst von Siemens Music Prize 2019 and highly in demand worldwide, can be experienced up close in Lucerne this year. Since studying with Wolfgang Rihm in Karlsruhe, the British composer has been living in Berlin and is present at every important contemporary music festival: be it with chamber music, orchestral works or even performative sound installations.
In Lucerne, the public can now immerse comprehensively in Saunders’ music, characterised by silence, colour and physicality.
“Silence is like the screen behind the sound, it frames the sound,” says Saunders, who mixes silence with timbres and quiet changes in timbre. Often the first thing Saunders has in mind when composing is one single sound, a real colour or a mood. “You go into a landscape, into a sonic situation when you compose and at some point, you reach absolute focus – from then on, everything you do is right.”
Whenever possible, Saunders tackles her new pieces with the interpreters, carefully approaching the instruments’ peculiarities with them. “What could be better than exchanging ideas with the musicians and discussing every little detail until the very end?”
Saunders composed the solo piece blaauw from 2004, for example, for the Dutch trumpeter Marco Blaauw, who will perform it in Lucerne. In this work, Blaauw uses the double funnel trumpet he developed to conduct a conversation, not only between the two partial trumpets, but also with the room’s acoustics, with a grand piano, in whose resonance chamber the trumpet plays, and with the audience. The title stands for the performer Blaauw and is at the same time a gentle winking allusion to Saunders’ love of colours.
Rebecca Saunders: blaauw, 2004, Nenad Markovic, trumpet / Ensemble Laboratorium, Davos Festival 2012, in house-production SRG/SSR
Blaauw’s double funnel trumpet can not only play quarter tones, but also subtle and abrupt changes in timbre or extremely long and large glissandi.
The “glissando technique” also defines the new piano concerto To an Utterance, written for pianist Nicolas Hodges, in which Saunders explores the almost physical limits of pianistic virtuosity, as she explained in a preliminary talk with Marc Sattler, festival dramaturge for contemporary music at the Lucerne Festival.
Together with pianist Nicolas Hodges, she explored the feasibility of extreme glissandi under various conditions, e.g. including only all black or all white keys. These energy-loaded sound gestures, combined with melodic lines, run through the piece and create a colourful richness.
“The piano is my home,” says Saunders. The strong relationship with the instrument is the reason why she has written many pieces for it and felt a strong desire to write a piano concerto for years. With the premiere of To an Utterance, her first piano concerto, the dream will now come true in Lucerne.
Rebecca Saunders, The underside of green for Clarinet, Violin &Klavier 1994, Collegium Novum Zürich, in house-production SRG/SSR: The underside of green is part of a series of compositions inspired by the final monologue of Molly Bloom in James Joyce’s Ulysses.
Literature, prose, poetry but also lexical and non-fiction texts have always fascinated Saunders and authors such as Samuel Becket or James Joyce constantly accompany her composing.
This fascination sometimes blossoms into pure instrumental pieces, based on texts or words, but without words. Then Saunders translates the colour of language into sound, as she did in Fletch (première 2012), a string quartet transforming the hissing pronunciation of the word fletch, into arrow-like, impulsive gestures of the string sound.
Or they result in vocal works focusing on text, or sometimes single words. Nether for soprano and ensemble (premiere 2019), for example, revolves around Molly Bloom’s monologue from the last chapter of James Joyce’s epic poem ‘Ulysses’. The vocal part will be performed in Lucerne by the British soprano Juliet Fraser, with whom Saunders has worked for a long time.
Her aim is not just to set a text to music, but to render what makes a text audible and perceptible, explains Saunders. A lot happens ‘behind and in between the lyrics’, hidden beneath the surface as the title suggests. Molly’s monologue becomes an emotional, almost theatrical, spatially arranged vocal performance. “The listeners are inside the music,” says Saunders, “as if they were sitting in the middle of a musical sculpture, in the fabric of sound.”
The Mouth for soprano and tape as well as Skin for voice and ensemble were specifically written for Fraser’s body or voice. Saunders sees mouth and skin are two of the most important interfaces between a human’s inner and outer world. For The Mouth, Saunders worked closely with Fraser to develop ‘unused forms of articulation’, in order to make this interface tangible.
Rebecca Saunders, The mouth, Juliet Fraser, World premiere 2020, Centre Pompidou Paris
In the composer’s own words, the piece wants to ‘penetrate from the surface of the sound to the essence of the voice: the physical body that produces that sound’. – Saunders re. The Mouth (UA 2020) – “Sound is a physical experience, one that engages all five senses,” says Saunders.
Gabrielle Weber
Rebecca Saunders – composer-in-residence at Lucerne Festival
Portrait concerts:
21.8., 11h: Marco Blaauw, trumpet, Arditti Quartet, Trio Accanto (including blaauw, fletch).
4.9, 11h: Juliet Fraser, soprano, soloists of the Lucerne School of Music: Daniela Argentino, soprano, Clemens Heil, conductor (a.o. The Mouth / Skin)
Other mentioned concerts:
28.8., 22h: Juliet Fraser, soprano, ensemble of the Lucerne Festival Contemporary Orchestra, conductor: Johanna Malangré (among others Nether, Swiss premiere).
4.9., 18:30h: Nicolas Hodges, piano, Lucerne Festival Contemporary Orchestra, conductor: Ilan Volkov (among others to an utterance, world premiere)
Rebecca Saunders, Wolfgang Rihm, Juliet Fraser, Marco Blaauw, Arditti Quartet, Trio Accanto
Broadcasts SRF2Kultur:
Kultur-Aktualität, 17.1.2019: Ernst von Siemens Musikpreis an Rebecca Saunders: die Lautmalerin der Stille, Redaktion Florian Hauser (verlinken):
Musikmagazin, 22.10.2016: Kaffee mit Rebecca Saunders, Redaktion Florian Hauser
Kontext – Künste im Gespräch 26.8.2021: Rebecca Saunders: composer-in-residence Lucerne Festival, Redaktion Annelis Berger
Musik unserer Zeit, 22.9.2021, 20h: Rebecca Saunders, Redaktion Annelis Berger
Neue Musik im Konzert, 22.9.2021, 21h: Portraitkonzert Rebecca Saunders 2, u.a. the mouth & skin
Neo-profiles:
Rebecca Saunders, Lucerne Festival Contemporary, Lucerne Festival Contemporary Orchestra, Davos Festival – Young artists in concert, Collegium Novum Zürich
Fly bird, fly!
The synthesiser and me – that pretty much sums up Nicolas Buzzi’s life. The Swiss artist has been playing electronic musical instruments ever since his early years. Today he invents sounds that – perhaps – never existed.
Benjamin Herzog
Is there even a word for it? Like Synthesizerist? Electronic musician? Not really. Nevertheless, there are people who dedicate their lives to synthesisers and electronic music. For Nicolas Buzzi, this passion began early and in a rather unusual place… the attic of a farmhouse. As a twelve-year-old he found an old Yamaha synthesiser there. “A stroke of luck,” says Buzzi, as he is a much sought-after musician today.
Nicolas Buzzi: US VII/VIII/IX, unison in seven parts, 2.12.2020:
He learned the game by himself, throughout his entire youth. Was it love at first sight? Yes, but not in a strict sense as that Yamaha is now something that belongs to the past, long gone. “Devices come and go,” he says, “what matters and stays is the way of dealing with them, the musical thought.” That musical thought, however, is a little more complicated than one might think. So let’s have a closer look.
Donald “Don” Buchla – inventing new sounds
San Francisco, the 1960s. If you imagine Donald Buchla, one of the main figures in the synthesiser’s development, with a flowered shirt, long hair and blue shades, that might not be entirely wrong. “Don” Buchla cultivated this look until his death. Somewhat guru-like. Throughout his life, Buchla presented numerous model series of electronic musical instruments: the Buchla synthesizers.
Nicola Buzzi mainly plays on one of these models, the “Buchla 200e”. To say synthesiser is perhaps not correct, for “synthesise” or imitate sounds that already exist wasn’t actually what Buchla’s meant to do.
He was more interested in inventing new sounds, new music, in harmony with the spirit and optimism of those years. John Cage, for example, experimented with various random techniques at the same institute in San Francisco, even if in his case the music was played by people on conventional instruments. (More or less: Cage also wrote music for sounding cactus).
Don Buchla invented a corresponding generator, a random generator, which can generate unprogrammed sequences, not foreseen by humans, on his devices.
So the synthesiser “makes” music, right? Nicolas Buzzi puts it into perspective. He says that he does receive impulses from the instrument, which is constructed in a way that it runs through its own random processes, which are still mostly controlled. In other words, what he wants, he kind of shows the instrument the way. But that also means: “Most instruments and we players orient ourselves to existing music.” Which raised the question whether something really new can emerge this way.
Nicolas Buzzi, Negotiating the space between rhythm and timber, 2020
“When I play as Nicolas Buzzi, I always have my own cultural memory, which is not easily to be erased,” says Buzzi. “My body, the pulse, the breath – all of these aspects also play a role in making music.”
The realm of artificial sounds is therefor made of people and that includes us, the listeners, who immediately classify what they hear. Comparisons are made, familiar things are brought up, drawers are torn open in order to tidy up and stow away the unknown.
In a way, the whole thing is supposed be left in charge of the machines..
In a way, the whole thing is supposed be left in charge of the machines.
In fact, there are research projects on this with self-learning computers that are supposed to create a non-human music, not linked to any memories. “But I can’t imagine that sounding good,” Buzzi says sceptically. And rightfully so. In any case, something like that is hard to imagine. Speaking of our imagination … if music doesn’t relate to our world, what is it supposed to draw inspiration from? “Perhaps perception,” says Buzzi. “Perception of time, sound, or figures.” A different perception, therefore, is to be presumed, but can one perceive the unknown? This is where it gets hazy.
Music that is oriented towards the perception of time, sound and figures.
The musical thought that has occupied Buzzi for most of his life with his synthesizers could lead to abysses. Maybe it’s a good thing to enter solid collaborations with other musicians. Buzzi plays in a trio with his wife, artist and musician Martina Buzzi, as well as with architect and musician Li Tavor. Three synthesizers combined in one project under the name of “Pain”. Not inappropriate, since it was born in the Corona year 2020. “As all the venues where we could have performed were closed, we moved our common soundscape to the digital,” Buzzi explains.
Headphone music is created in this way. In and within one, or rather three, different digital sound spaces. One reacts very differently to his or her fellow musicians, says Buzzi, more independently, freer, listening with fresher ears. Ideal conditions, actually, for new things to happen on Buchla’s magical device.
Nicolas Buzzi / pain mit Martina Buzzi und Li Tavor: places 2
Let’s have a listen. In parts of “Pain”’s sounds one can hear creatures snarling and grunting at each other. It barks, trembles, hisses, as in an independent sonic bestiary and that’s what I hold on to. What would happen if I let myself fall into this rather unknown cosmos?
Nicolas Buzzi am Buchla von hinten ©zVg Nicolas Buzzi
Letting go is where my brain actually starts getting in the way, as it obviously prefers to wander through an imaginary zoo with this music. The new music on Buzzi’s Buchla 200e, the “musical thought” about it, that also concerns the listener, who obviously likes to cling to his branch like a bird in a tree. Spread your wings and fly bird, fly!
Benjamin Herzog
In the “I sing the body electric” project, Nicolas Buzzi met the Ensemble Thélème. The result was a combination of synthesiser and Renaissance music
Nicolas Buzzi und thélème: I sing the body electric, Buchla Synthesizer trifft Chansons von Josquin, Eigenproduktion SRG/SSR
From September 21 to 23, the project Rohrwerk – Fabrique sonore, featuring sound installations by Nicolas Buzzi, German Toro Perez, Marianthi Papalexandri-Alexandri, etc. will be presented again (after Basel, Zurich and Lausanne SMC) at Lausannes’ Rolex Learning Center at EPFL.
Sendungen SRF 2 Kultur:
Musik unserer Zeit, 3.3.21, Nicolas Buzzi und sein Synthesizer, editor Benjamin Herzog / verlinken:
Neue Musik im Konzert, 31.3.21, 21h, I sing the body electric, editor Florian Hauser
Neoblogpost, 2.9.2019, Reibung erzeugt Wärme: Marianthi Papalexandri Alexandri @ Rohrwerk – Fabrique sonore/Zeiträume Basel, autor Theresa Beyer
Neo-profiles:
Nicolas Buzzi, thélème, Germán Toro Pérez, Marianthi Papalexandri Alexandri, Musikpodium der Stadt Zürich, Beat Gysin, Société de musique contemporaine – SMC Lausanne
tuns contemporans 2021 – Graubünden meets the world
In 2019, two of Graubünden’s professional orchestras, Ensemble ö! and Kammerphilharmonie Graubünden, already co-initiated Graubünden’s Biennale for New Music – tuns Contemporans.
Its second edition focuses on female composers on one hand and on local music creation on the other. Three pieces out of a “call for scores” for ladies only will be premiered and the Biennale also commissioned works to three generations of Graubünden composers.
Slogan is: Graubünden meets the world, the familiar meets the unfamiliar, the new meets the even newer.
Gabrielle Weber
The Chur Biennale for Contemporary Music tuns contemporans has had a somewhat difficult start into its second edition. In September 2020, it launched a Call for Scores for ladies only and at that time, the near future seemed a bit brighter as one could hope that live concerts might have taken place again the following spring.
Now, in the midst of the third pandemic wave and with no prospect of live concerts in front of an audience any time soon, it was eventually decided to hold the Biennale anyway. Like so many other festivals, it will take place without an audience on site, but broadcasting live via online stream.
A blessing in disguise as a variety of new works will be made available in and from Chur, all over the world, during four concerts between April 9 and April 11.
The Biennale was initiated by David Sontòn Caflisch, artistic director of the Ensemble ö! together with the Kammerphilharmonie Graubünden.
In addition to his ensemble ö! engagement, Sontòn Caflisch is active as violinist in various contemporary music formations as well as a composer. The Chur-based ensemble ö! regularly premieres works by up-and-coming composers, but also specifically by Graubünden musicians. In addition to Chur, it performs in Zurich, Basel and international guest performances.
Stefanie Haensler, Im Begriffe for Quintet, world creation ensemble ö! 2016, Video in house produktion SRG/SSR, Launch neo.mx3 & Ensemble ö!, Postremise Chur, 11.Oktober 2020.
Call for scores – for ladies only!
The submitted scores were judged by a jury consisting of renowned contemporary music connoisseurs:
The two women Asia Ahmetjanova, Ensemble ö!’s pianist and composer, and Karolina Öhman, solo cellist and member of Ensemble Mondrian, among others. Joined by Philippe Bach, Kammerphilharmonie Graubünden’s and tuns contemporans’ artistic director, Baldur Brönnimann, guest conductor at tuns contemporans and artistic director of the Basel Sinfonietta, as well as Sontòn Caflisch.
Of 124 submitted works, the following three pieces were selected for a world premiere: Fragmente einer Erinnerung (Fragments of a Memory) for small ensemble by Elnaz Seyedi (Tehran), Still Images by Vera Ivanova (Moscow) for large ensemble and Accord by Katrin Klose (Germany) for chamber orchestra. They will be separately premiered during one of the Biennale concerts.
tuns contemporans will also offer an insight into four generations of Graubünden musicianship, as commissions for three new works by Sontòn Caflischs, Martin Derungs and Duri Collenberg have been awarded. While the Sunday matinée will stage songs and a cello solo by Benedikt Dolf (1918 -1985).
Benedikt Dolf, Concertino für Streichorchester 2008, Eigenproduktion SRG/SSR
The Kammerphilharmonie Graubünden has always been committed to local music-making, both in Chur as well as in smaller concert venues of Graubünden’s valleys. With its commitment to tuns contemporans and Call for Scores, it is now setting an example for the orchestral repertoire’s renewal and for more gender diversity among the next generation of composers.
The internationally renowned Finnish composer Magnus Lindbergh has been invited as composer in residence. He will be present during the entire Biennale and will have his works performed in each of the four concerts.
The opening evening with the Kammerphilharmonie Graubünden at the Chur Theatre for instance will present his Violin Concerto from 2006, together with a world premiere by Sontòn Caflisch and the new piece by Katrin Kloss, winner of Call for Scores’ chamber orchestra category.
David Sontòn Caflisch, Enceladus-Variationen 2019, in house production SRG/SSR
Apartment House after John Cage, tuns contemporans’ promising mediation project, had to be cancelled at short notice due to the pandemic. Cage’s groundbreaking work from 1976 was to become a plea for social diversity and collective art in Chur. In collaboration with a large number of local artists, the festival wanted to cover all of Theater Chur’s rooms as well as the outside area. Now it turned into a symbol for the current physical distancing measures.
The Chur Theatre and the Bündner Kunstmuseum, from where all concerts will be streamed live are also involved in this festival, aiming to move contemporary music closer to everyday cultural life in Chur again, a resolution one would wish for in many a larger city.
Tuns contemporans promise a dense and varied programme: Graubünden meets the world!
Gabrielle Weber
60 female composers from 30 different countries submitted 124 works in tuns contemporans’ Call for Scores. 84 of them in the category “small ensemble”, 22 for the “large ensemble” category and 18 in the “chamber orchestra”category. Three works were selected for a premiere in each category. All details regarding concerts and livestream details can be found on tuns contemporans’ homepage
In October 2020, the RTR launch of neo.mx3 took place in the Postremise in Chur, featuring ensemble ö! during the short time in which live concerts were possible. The whole concert was recorded and filmed by RTR and is available on ensemble ö!’s neo.mx3 profile.
tuns contemporans, Magnus Lindberg, Katrin Klose, Elnaz Seyedi, Vera Ivanova
Broadcasts SRF 2 Kultur:
Neue Musik im Konzert: Ein Fest der neuen Musik, final concert tuns contemporans 2019, editor Cécile Olshausen, 15.4.2020
neoblog, Ein Prost auf die Neue Musik!, post by Thomas Meyer, 27.9.2020
Musik unserer Zeit: ö! ensemble für neue Musik, editor Florian Hauser, 11.11.2020
Neo-profiles:
Ensemble ö!, Kammerphilharmonie Graubünden, David Sontòn Caflisch, Karolina Öhman, Asia Ahmetjanova, Basel Sinfonietta, Ensemble Phoenix Basel, Philippe Bach, Stefanie Haensler