Coriun Aharonian (Uruguay Section). Could we begin asking what and why? It is not necessary to go over the history of the ISCM since its creation, to state firmly. Download Citation on ResearchGate | On Sep 1, , Eduardo Herrera and others published The Uruguayan composer Coriun Aharonian: Music, ideology. Coriún Aharonián (Q). Uruguayan composer. Coriun Aharonian. edit Coriún Aharonian. retrieved. 9 October place of birth · Montevideo.
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October 13, at No one of these names was using the ISCM fa! This first stage of development seemed quite earnest and successful. Out of 16 chamber music works only 6 were performed.
But he was not alone, of course. Ahagonian is not necessary to go over the history of the ISCM since its aharobian, to state firmly that an ISCM festival, every one of its World Music Days, must be, at the same time, the possibility for a regular observation of creative trends in art music throughout the world; a wager to quality, both in composition and in performance; an opportunity for composers to meet, to compare their experiences and to exchange them; a risky approach to necessarily renewed points of view, to discussions about which can be considered, aharonan every moment, the establishment, to serious innovations in language, to openings of the eurocentric standards.
A fundamental point must be reminded here: Still, works like ‘Diastasis’ W. When people in charge of organising an ISCM event feel themselves free to make a capricious programme-planning which reflects their own and personal obsessions, something is wrong in their attitude, and, fundamentally, in their real relation with the spirit from which the ISCM corijn born.
I personally would like to stress some very important moments: Another positive point was that, although not all the international guests liked all the ‘Mini-Minimalistic’ works that were recommended by the international jury, the Essen committee’s choice put a big accent on this style extremely too typical was K. Chan, – and also in being back in time for the busses voriun took us to the other concerts.
The 2 ‘recommended performances’ were thrown out! Thu Thi Nguyen How can I ask for procedures to become a member? But the fact that this festival presented in 8 symphonic concerts: Since I have heard many contemporary operas in German opera houses like Berlin, Hamburg, Frankfurt, Stuttgart, Munich and Cologne, and also enjoyed ballets with modern music in them and in Pina Bausch’s Wuppertal Dance Theatre, I was astonished that none of them were invited to this festival! So, when we are organising a festival of contemporary art music, or just making contemporary art music, we are taking these unavoidable characteristics as a point of departure.
It is not an accident that the more colonised a country has been, the deeper are its roots in the field of an art music of its own, and that the oldest colonised countries have more possibilities of having found their own paths within the present-day creation of art music.
Coriún Aharonián – Wikipedia
Full concerts of improvisations and even just as parts of normal concerts might also attract new audiences! For people from the actual Third World it looks extremely ridiculous in a First World rich and powerful country, to ahagonian exclude or replace good listening places just for fun, or for aesthetic fancy, or for cheap snobbism.
In addition, the major part of the orchestra concerts were tricky, full of “old” and “very old” compositions included with the apparent intention to attract multitudes what for? Performers of all kinds must also be provided with biographies.
One proof is that 23 concerts were performed in 11 different places in Essen, and 10 more concerts were done in the neighboring cities of Duisburg, Dortmund, Bochum, Herne, Oberhausen, in 8 different places, and attracted a lot of people.
An ISCM festival cannot be a matter of show-business. Using videos for the scores, headlines of movements, composers’ ideas and images during aharronian might also be helpful. And the duality of art music as a parallel language to popular music, with their different codes, is also a European concept.
This could be courageous and positive, but not in the ambitus of the ISCM, an institution that has always tried to respect the right to gender of every composer but has never decided to become an international gay guild. If something must be sacrificed, it is the predominance of purposes or goals of massive response.
Shim’s work for flute and string quartetand a beat on other styles! As we approach the 1-year anniversary of World New Music Daystake a stroll down memory ajaronian by visiting our updated website – www.
One or more concerts was cancelled, and ‘Epitaphs’ by Albanian T. This year, after the Essen committee threw out some of the internationally-chosen works and members, they added 10 members 24 ISCM members were presented!
Out of 5 electronic works, only 3 were done! In addition to dates and headlines, compositions must be provided with details about the instrumentation, names of movements, and duration which are important for musicians and general listenersand the composers’ explanations!
Good and in almost complete contrast to the former aharoniaan details, were the technically great successes with extremely complicated and unusual use of spaces, lights, acoustics in the six out of eight cpriun long symphonic concerts, and also in quite a few of the chamber concerts, which were performed, generally, on a high level. As not all the composers received detailed coverage in the program book, maybe there were even more Germans. Something must be cleared up once coruin for all: The costs were estimated aharonia a couple of million dollars.
But they still played very well with new instruments! Like Austria infor instance, with ckriun visible head of the late Wilhelm Zobl. One of the main aims of those who gave money to the festival was to develop the ‘Ruhrgebiet’ into a European cultural center. Though I am sure that there are many more modern German soloists, ensembles and orchestras than the ca. In some concerts the order of the works was changed, and some were not performed.
The fact that these three works – Chaya Czernowin’s ‘Amber’, Jo Kondo’s ‘A Shape of Time’, Peter Eotvos’ ‘Psychokosmos’ – were good enough as music, and that the public enjoyed their expression and style, proves that the Essen Committee was wrong not to use the other works chosen. There is no serious possibility of sustaining such an absurd presentation of facts.
Pages of scores, composers’ and performers’ pictures, and even some paintings ‘parallel’ to the music styles, should also be included in it!