The Seattle Chamber Players and Tomoko Mukaiyama presented ‘Style Wars V’ -Minimal Madness- by Michiel Mensingh and the Dutch premiere of Yannis Kyriakides’ piece ‘Satellites’. The lightning outside matched the composition perfectly…
The music week started with a new adaptation of Michael Mensingh’s Style Wars IV (Postmodernism strikes back), and is now at its end with the premiere of Style Wars V – Minimal Madness. In this episode clashes minimal music with twelve-tone music, resulting in the continuing breakdown of tune but it never really is a Kammersymphonie. Despite the disturbing rhythms and dissonant cycling through it remains a coherent piece with a recognizable pulse. Musically this is a result of which you would like Philip Glass would be an example, but morally it is still less satisfactory: in the confrontation between “Glass and Schoenberg ‘victory leaves Mensingh very easy to Glass. (Also: Glass did not itself a “Style War” included in Part XII of Music in Twelve Parts?)
Despite all the differences there are in fact no such Gaudeamus Style Wars. You can differentiate between serious and playful composers, between theatrical and pure musical persuasions, but there are no small Adornootjes longer around, who consonance a bow for the culture industry, and minimalism is a trope has become where you you can control or no. As Henk Heuvelmans at the awards ceremony last year said: “There were no factions Between the composers, no scores were burned”.
In that harmony can be question marks. An undisclosed composer (some colleagues will be a suspect) admonished me with any raised voice: “If you are interested in interdisciplinarity and new artistic forms of presentation, what do you do when Gaudeamus? They all think is in the Central European tradition of Boulez and Stockhausen. And they make music for ensembles. that interested nobody. The groups with a new sound that is better for your generation fit no longer think as ensembles but as a band. A new generation of composers working with theater, with artists, with designers and technicians. And you will not see on Gaudeamus, but ArtScience and Today’s Art. You have to look again at the Hague. ”
Let’s say that the warning was worded a little too exaggerated. There are in the program three such groups as the band thought (Hexnut, Klang and the Rosa Ensemble), there are plants that you partly as art can classify, and a high-tech wave field synthesis system, and Wrench, the Night of the Unexpected and the spectacular concert on Wednesday evening Barbara Lüneburg constitute a convincing argument against cross-discipline.
The allegation has a bite: Gaudeamus is indeed very much a festival for composers. The question “are you a composer Also?” is a fairly common way to get acquainted. And who as non-program notes by the composer takes detects something you like fetish notes may indicate: an excessive fixation on sounds even more sophisticated and technical details.
This perspective is not so much the divide between schools and between composing composers who are primarily about the music, composers and music with as many interesting things to do. But there seems no question of fault, rather a continuum. As far as I know, no angry young dogs self-proclaimed “post composers”.
[And "my generation" I think of Roger Daltrey of The Who, who 36 years later at the Ground Zero tour was singing My Generation.]
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