Written by DBF
\nmi\u00f0vikudagur, 14 n\u00f3vember 2007
\nKunstensemble Neue Musik Berlin – Carnegie Hall, nov. 9, 2007.<\/p>\n
\u00c1 dagskr\u00e1 var:
\nSTEFAN BARTLING
\nMit Namen & RANDNOTIZ
\nHELMUT OEHRING
\nPhilipp
\nMARC SABAT (Music) \/
\nPETER SABAT (Film)
\nAUTOMAT
\nRODRIGUEZ
\nTelegram from a Sea (words by Ron Winkler)
\nINTERMISSION 1
\nSTEFANO GERVASONI
\nAn (Quasi una serenata con la complicit\u00e0 di Schubert)
\nNONO
\nPost-prae-ludium No.1, “per Donau”
\nPETER ABLINGER
\nVoices and Piano
\nHELMUT LACHENMANN
\nInt\u00e9rieur I<\/p>\n
INTERMISSION 2
\nALESSANDRO BOSETTI
\nThe Listeners (video)
\nWALTER ZIMMERMANN
\nShadows of Cold Mountain 5
\nTHOMAS MEADOWCROFT
\nEzra Jack Plot (with video stills from The Snowy Dayby Ezra Jack Keats)
\nSTEPHAN WINKLER
\nVom Durst nach Dasein<\/p>\n
Eins og gl\u00f6ggir lesendur sj\u00e1, \u00fe\u00e1 er h\u00e9r um a\u00f0 r\u00e6\u00f0a eina \u00fe\u00e1 allra lengstu n\u00fat\u00edmat\u00f3nleika sem vita\u00f0 er um. Samtals voru um 160 m\u00edn\u00fatur af t\u00f3nlist \u00e1 dagskr\u00e1 kv\u00f6ldsins.
\nT\u00f3nleikarnir voru hluti af Berl\u00ednar h\u00e1t\u00ed\u00f0 Carnegie Hall, sem a\u00f0 venju misskildi sitt eigi\u00f0 konzept, og r\u00e9\u00f0 Thomas Ades til a\u00f0 skrifa frumsamin verk fyrir h\u00e1t\u00ed\u00f0ina. Klass\u00edsk heg\u00f0un \u00e1 me\u00f0al h\u00e6rri menningarstofnanna New York borgar. Sem betur fer var okkur hl\u00edft vi\u00f0 sl\u00edkri andslepju \u00e1 \u00feessum t\u00f3nleikum. KNM Berl\u00edn er samspil sem var stofna\u00f0 af nemendum \u00ed Hans Eisler t\u00f3nlistarh\u00e1sk\u00f3lanum um \u00fea\u00f0 leyti sem Berl\u00ednarm\u00farinn f\u00e9ll, og hefur samspili\u00f0 \u00e1unni\u00f0 s\u00e9r sess \u00ed t\u00f3nlistarl\u00edfi borgarinnar me\u00f0 \u00fdmsum upp\u00e1komum, svo sem stofu t\u00f3nleikum, \u00fear sem n\u00fd verk eru flutt inn \u00ed stofu hj\u00e1 einhverjum einstakling sem treystir s\u00e9r \u00ed a\u00f0 lofta \u00fat fimmtu bylgju n\u00fdm\u00f3dernisma a\u00f0 t\u00f3nleikum loknum.<\/p>\n
Fyrst \u00e1 dagskr\u00e1 kv\u00f6ldsins voru tv\u00f6 verk fyrir rafr\u00e1sir, tvo megaf\u00f3na og hj\u00f3lgj\u00f6r\u00f0. Slagverksleikari samspilsins var byrja\u00f0ur a\u00f0 sn\u00faa hj\u00f3lgj\u00f6r\u00f0inni sem framleiddi sitt hef\u00f0bundna tif, l\u00f6ngu \u00e1\u00f0ur en almenningur var sestur \u00ed salinn. Um lei\u00f0 og lj\u00f3sin h\u00f6f\u00f0u veri\u00f0 l\u00e6kku\u00f0 gengu tveir einstaklingar fram \u00e1 svi\u00f0 og t\u00f3ku a\u00f0 sn\u00faa s\u00e9r til hli\u00f0anna — samkv\u00e6mt skori — hvort me\u00f0 sinn megaf\u00f3ninn. Lengi vel kom ekkert hlj\u00f3\u00f0 \u00far megaf\u00f3nunum, heldur bara \u00far rafkerfi h\u00fassins. Einnig l\u00e9k ne\u00f0anjar\u00f0arlestarl\u00ednan sem er vi\u00f0 hli\u00f0ina \u00e1 salnum (\u00e9g minni \u00e1 a\u00f0 \u00feetta er \u00ed Carnegie Hall) mikin \u00fe\u00e1tt \u00ed verkinu, sem og \u00ed restinni af t\u00f3nleikunum. Skemmtilegt a\u00f0 vita til \u00feess a\u00f0 \u00feetta fyrirt\u00e6ki fj\u00e1rfesti \u00ed n\u00fdjum verkum andvana f\u00e6ddum eftir ensku yfirst\u00e9ttina frekar en a\u00f0 byggja bassagildru \u00ed kammert\u00f3nleikasalinn sinn, sem a\u00f0 \u00f6\u00f0ru leyti er einn besti t\u00f3nleikasalur borgarinnar.<\/p>\n
Svo \u00e9g sn\u00fai m\u00e9r aftur a\u00f0 verkinu, \u00fe\u00e1 er ekki h\u00e6gt a\u00f0 segja anna\u00f0 en a\u00f0 \u00fea\u00f0 er jafn gaman a\u00f0 horfa \u00e1 einn sn\u00faa hj\u00f3lgj\u00f6r\u00f0 og tvo a\u00f0ra sn\u00faa sj\u00e1lfum s\u00e9r, eins og \u00fea\u00f0 er lei\u00f0inlegt a\u00f0 hlusta \u00e1 f\u00f3lk \u00feylja upp n\u00f6fn fr\u00e6gra g\u00e1fumanna \u00ed suround soundi (rafhluti verkanna samanst\u00f3\u00f0 annars vegar af \u00fev\u00ed, og hins vegar af imiterandi tifi). L\u00fakka\u00f0i flott en hlj\u00f3ma\u00f0i lei\u00f0inlega.<\/p>\n
N\u00e6st \u00e1 dagskr\u00e1 var Phillip fyrir s\u00f3l\u00f3 kontrabassaklarinett eftir Helmut Oehring. Oehring \u00feessi augl\u00fdsir sj\u00e1lfan sig sem s\u00e9rstakan \u00fear sem b\u00e1\u00f0ir foreldrar hans voru heyrnarlausir. \u00c9g efast ekki um a\u00f0 hann hafi a\u00f0ra s\u00edn \u00e1 hlj\u00f3\u00f0 en margir a\u00f0rir, og margt gott \u00ed \u00fev\u00ed sem hann gerir, \u00fe\u00f3 svo formi\u00f0 s\u00e9 svol\u00edti\u00f0 of mj\u00fakt. Verkinu er best l\u00fdst sem r\u00f3mant\u00edskri et\u00ed\u00f0u tro\u00f0fullri af \u00fdmsum st\u00f3rfallegum hlj\u00f3\u00f0um kontrans. Ekkert a\u00f0 \u00fev\u00ed, og formi\u00f0 var betra en \u00ed m\u00f6rgum \u00f6\u00f0rum Oehring verkum sem \u00e9g hef heyrt.<\/p>\n
\u00deri\u00f0ja verk \u00e1 fyrsta hluta t\u00f3nleikanna var svo d\u00fa\u00f3 fyrir tv\u00e6r fi\u00f0lur og v\u00edde\u00f3. T\u00f3nlist eftir Marc Sabat, og v\u00edde\u00f3 eftir br\u00f3\u00f0ir hans. Marc \u00feessi er kanadama\u00f0ur sem nam fi\u00f0lun\u00e1m \u00ed Juilliard t\u00f3nlistarsk\u00f3lanum \u00e1\u00f0ur en hann ger\u00f0ist n\u00fdmi\u00f0la listama\u00f0ur og flutti til Berl\u00ednar \u00fear sem hann nam hj\u00e1 Walter Zimmerman. Marc semur alla s\u00edna t\u00f3nlist \u00ed just-intonation, og \u00feetta verk var engin undantekning. Fi\u00f0lurnar l\u00e9ku af svi\u00f0i, sennilega af\u00fev\u00ed a\u00f0 \u00feeir \u00feurftu tuner til a\u00f0 geta performera\u00f0 stykki\u00f0 (fyrir t\u00f3nleikana sag\u00f0i Marc m\u00e9r a\u00f0 \u00feetta v\u00e6ri svo hr\u00e6\u00f0ilega erfitt a\u00f0 intonera, og a\u00f0 \u00feetta v\u00e6ri \u00ed fyrsta skipti sem hann heyr\u00f0i \u00feetta stykki flutt af \u00f6\u00f0rum en sj\u00e1lfum s\u00e9r). Mig grunar reyndar a\u00f0 \u00e9g hafi heyrt sama verk \u00e1 t\u00f3nleikum \u00ed Goethe Institute NYC vori\u00f0 2006. En alt\u00e9nt, verki\u00f0 er st\u00f3rogtt, svo lengi sem ma\u00f0ur f\u00edlar justi\u00f0, og v\u00eddeoi\u00f0 s\u00fdndi tv\u00e6r l\u00fappur, \u00fear sem v\u00edde\u00f3kameran snerist \u00ed einn hring fyrir utan b\u00edla\u00fevottast\u00f6\u00f0 \u00ed c.a. 6 m\u00edn\u00fatur. L\u00fappurnar voru s\u00fdndar hver ofan \u00e1 annari, en \u00f6nnur var tekin 1999 og hin 2005 e\u00f0a svo. Skemmtilegt a\u00f0 sj\u00e1 f\u00f3lk labba \u00ed gegnum hluti, og hva\u00f0 hlutirnir breytast. St\u00f3rg\u00f3\u00f0 upplyfun alltumkring.<\/p>\n
S\u00ed\u00f0asta stykki fyrir hl\u00e9 var s\u00ed\u00f0an svo aumt a\u00f0 \u00e9g varla man eftir \u00fev\u00ed. Ekkert a\u00f0\u00fev\u00ed. Verki\u00f0 var svona d\u00e6miger\u00f0 evr\u00f3psk festivalm\u00fass\u00edk, reyndar samin af argent\u00ednsku t\u00f3nsk\u00e1ldi. Framan af hlj\u00f3ma\u00f0i verki\u00f0 eins og \u00fea\u00f0 v\u00e6ri st\u00fatfullt af spennandi t\u00e6kni atri\u00f0um, me\u00f0 undarlega rafr\u00e1s sem skarst \u00ed vi\u00f0 hlj\u00f3\u00f0f\u00e6rin, en eftir sm\u00e1 stund \u00fe\u00e1 fatta\u00f0i ma\u00f0ur a\u00f0 \u00fea\u00f0 voru ekki nema c.a. 2 – 3 extended t\u00e6knir per hlj\u00f3\u00f0f\u00e6ri, og a\u00f0 rafr\u00e1sin var bara hreinlega svona illa ger\u00f0. Vill ekki segja meira af\u00fev\u00ed \u00e9g vill ekki segja of vont.<\/p>\n
N\u00e6st kom hl\u00e9. \u00cd hl\u00e9i \u00fe\u00e1 t\u00f3ku \u00e9g og f\u00e9lagar m\u00ednir eftir \u00fev\u00ed a\u00f0 \u00e1 sta\u00f0num voru allir \u00feeir einstaklingar sem \u00e9g hef nokkru sinni s\u00e9\u00f0 \u00e1 n\u00fat\u00edmat\u00f3nleikum \u00ed NYC. Skemmtilegt \u00fea\u00f0, sem einmitt bendir til \u00feess sem mig haf\u00f0i lengi gruna\u00f0, a\u00f0 \u00feetta v\u00e6ru a\u00f0al n\u00fat\u00edmat\u00f3nleikar haustsins.<\/p>\n
Annar hluti t\u00f3nleikana var f\u00f3k\u00fasera\u00f0ur \u00e1 st\u00e6rri og meiri n\u00f6fn. Fyrst var verk Stefano Gervasoni sem var gott solid 80’s kammerstykki sem l\u00e1 einhversta\u00f0ar mitt \u00e1 milli spectral og \u00edtalska sk\u00f3lans. Mj\u00f6g danna\u00f0 og allt fallega framsett, og \u00e9g ver\u00f0 a\u00f0 segja a\u00f0 \u00e9g var bara annsi \u00e1n\u00e6g\u00f0ur me\u00f0 stykki\u00f0. Stykki\u00f0 framkv\u00e6mdi \u00fea\u00f0 sem svo m\u00f6rg su\u00f0ur-evr\u00f3psk stykki eru alltaf a\u00f0 reyna. \u00de\u00e1 \u00e1 \u00e9g vi\u00f0 a\u00f0 \u00fea\u00f0 var kl\u00e1r pr\u00f3sess \u00ed gangi, sem samt var aldrei \u00fea\u00f0 eina sem var \u00ed gangi, me\u00f0 hressandi para-tonal yfirbor\u00f0 me\u00f0 fullt fullt af trillum.<\/p>\n
N\u00e6st l\u00e9k Robin Hayward t\u00fabu stykki eftir Luigi Nono fr\u00e1 lokum \u00e1ttunda \u00e1ratugarins. Verki\u00f0 var d\u00e6miger\u00f0ur s\u00ed\u00f0-Nono, me\u00f0 fullt af \u00fe\u00f6gnum. Megni\u00f0 af t\u00edmanum var t\u00faban a\u00f0 spila einhverssta\u00f0ar lengst upp\u00ed rassgati, og tv\u00e6r delay l\u00ednur s\u00e1u um a\u00f0 spila me\u00f0. Robin \u00feessi er einn allra flinkasti t\u00fabuleikari sem \u00e9g hef nokkru sinni s\u00e9\u00f0, hann getur spila\u00f0 algj\u00f6rt p\u00edanissim\u00f3 lengst \u00fat \u00far range og l\u00e1ti\u00f0 \u00fea\u00f0 hlj\u00f3ma eins og fegursta hlj\u00f3\u00f0 sem \u00fe\u00fa hefur nokkru sinni heyrt, svo broth\u00e6tt og fallegt og fullt af “g\u00f6llum” eins og alltaf \u00feegar m\u00f6guleikar hlj\u00f3\u00f0f\u00e6ris eru \u00feanndir til hins \u00edtrasta.<\/p>\n
\u00deri\u00f0ja stykki\u00f0 \u00ed \u00f6\u00f0rum \u00fe\u00e6tti var svo meistaraverki\u00f0 Voices and Piano eftir Peter Ablinger. Ablinger \u00fearf vart a\u00f0 kynna. Hann er forv\u00edgisma\u00f0ur konsept\u00faalista \u00ed \u00fe\u00fdskalandi og er fr\u00e6gur fyrir stykki eins og hlj\u00f3msveitarverk sem reyna allt til a\u00f0 l\u00e1ta hlj\u00f3msveit hlj\u00f3ma eins og white noise me\u00f0 \u00fev\u00ed einu a\u00f0 spila venjulegar n\u00f3tur, og svo verk \u00fear sem hann keyrir hlj\u00f3\u00f0 \u00ed gegnum anal\u00fdsu og orkestrerar svo \u00fatkomuna. Hann hefur gert \u00feetta vi\u00f0 umhverfishlj\u00f3\u00f0 \u00far \u00fdmsum borgum me\u00f0 misj\u00f6fnum \u00e1rangri, en \u00ed \u00feetta skipti\u00f0 keyr\u00f0i hann r\u00e6\u00f0ur eftir Bertold Brecht, Schonberg, Angelu Davis og Mao Zedong. P\u00edan\u00f3 parturinn fylgir raddhreyfingunum og t\u00edmasetning n\u00e1kv\u00e6mlega, og r\u00e6\u00f0urnar eru spila\u00f0ar me\u00f0. \u00dattkoman er alveg hreint fr\u00e1b\u00e6r. Framan vi\u00f0 mig sat mi\u00f0aldrakona, og um lei\u00f0 og h\u00fan fatta\u00f0i hva\u00f0 var a\u00f0 gerast \u00ed verkinu \u00fe\u00e1 missti h\u00fan \u00fat \u00far s\u00e9r andvarp me\u00f0 or\u00f0unum “oh no”. Stu\u00f0 \u00fear.<\/p>\n
S\u00ed\u00f0ast fyrir seinna hl\u00e9 var svo slagverksorg\u00edan Interiur I eftir langafann Lachenman. Hressandi yfirbor\u00f0 — \u00f6murleg form, eins og hans er von og v\u00edsa. \u00dea\u00f0 voru endalausir falskir endar og eftir a\u00f0 hann haf\u00f0i m\u00f3d\u00falera\u00f0 fr\u00e1 upphaflegum hlj\u00f3\u00f0heimi verksins yfir \u00ed annan, \u00fe\u00e1 sneri hann til baka \u00ed \u00feann fyrsta og h\u00e9kk \u00fear \u00ed fimm extra m\u00edn\u00fatur. Eftir a\u00f0 hafa fari\u00f0 \u00ed skemmtilega fer\u00f0 fr\u00e1 einum p\u00fankti til annars, \u00fe\u00e1 hundleyddist manni a\u00f0 koma heim aftur.<\/p>\n
\u00cd seinna hl\u00e9i yfirg\u00e1fu svo \u00feeir sem eftir voru af hlj\u00f3mleikagestum, og eftir st\u00f3\u00f0u s\u00f6mu 50 manns og \u00e9g s\u00e9 \u00e1 hverjum einustu t\u00f3nleikum og engir a\u00f0rir. NYC er sm\u00e1b\u00e6r eins og allir a\u00f0rir sta\u00f0ir.<\/p>\n
Fyrst eftir \u00feetta seinna hl\u00e9 var svo v\u00edde\u00f3 verk \u00fear sem fimm hlustendur hlustu\u00f0u \u00e1 verk \u00ed headf\u00f3num sem voru s\u00e9rsamin fyrir \u00feau. Enginn annar f\u00e9kk a\u00f0 heyra verkinn en vi\u00f0 fengum a\u00f0 fylgjast me\u00f0 \u00e1n\u00e6gju hlustendanna \u00feegar \u00feeir ur\u00f0u fyrir bar\u00f0inu \u00e1 hverjum \u00feeim hlj\u00f3\u00f0um sem g\u00e6tu hafa veri\u00f0 a\u00f0 koma \u00far headf\u00f3nunum \u00e1 hverju augnabliki.<\/p>\n
Verk n\u00famer tv\u00f6 var eftir Walter Zimmerman, sem er g\u00f3\u00f0ur ma\u00f0ur, svo \u00e9g \u00e6tla bara ekki a\u00f0 segja neitt anna\u00f0 um verki\u00f0.<\/p>\n
S\u00ed\u00f0asta verk sem \u00e9g haf\u00f0i \u00fea\u00f0 af a\u00f0 sj\u00e1 \u00e1\u00f0ur en \u00e9g h\u00e9lt \u00e1fram f\u00f6r inn \u00ed n\u00e6turl\u00edf borgarinnar var svo Ezra Jack Plot eftir Thomas Meadowcroft. Thomas er \u00e1stralskt t\u00f3nsk\u00e1ld b\u00fasett \u00ed Berl\u00edn. Hann lauk doktorsn\u00e1mi fr\u00e1 Penn hj\u00e1 hr. Crumb a\u00f0eins 25 \u00e1ra a\u00f0 aldri. \u00c1 me\u00f0an \u00e1 \u00fev\u00ed n\u00e1mi st\u00f3\u00f0 f\u00e9kk hann v\u00edst n\u00f3g af f\u00edladelf\u00edu og f\u00f3r \u00ed h\u00e1lft \u00e1r til San Diego \u00fear sem hann nam hj\u00e1 meistara Ferneyhough. Verkin hans eru yfirleitt \u00f3stj\u00f3rnlega fallegar hlj\u00f3maf\u00e6rslur (fallegar \u00ed \u00f6fgum, ekki n\u00fat\u00edma e\u00f0a bl\u00ed\u00f0u), me\u00f0 eitthva\u00f0 concept sem p\u00ednir sig \u00ed gegnum yfirbor\u00f0i\u00f0. Einu sinni var \u00fea\u00f0 hefilbekkur og \u00ed anna\u00f0 skipti hl\u00e1turr\u00e1s. N\u00fana var \u00fea\u00f0 shaker egg sem var lami\u00f0 me\u00f0 ping pong spa\u00f0a, og svo l\u00edti\u00f0 leikfangahlj\u00f3mbor\u00f0 sem var c.a. 1\/8 skarpt og spila\u00f0i me\u00f0 \u00f6llum s\u00e6tu hlj\u00f3\u00f0f\u00e6runum \u00ed sumum hlj\u00f3munum \u00feannig a\u00f0 ma\u00f0ur \u00feurfti a\u00f0 heyra \u00fe\u00e1 \u00e1 n\u00fdjan og g\u00f3\u00f0an h\u00e1tt. St\u00f3rgott stykki.<\/p>\n
Eftir \u00feetta var \u00e9g b\u00fainn a\u00f0 f\u00e1 n\u00f3g (n\u00e6sta verk \u00e1tti v\u00edst a\u00f0 vera byggt \u00e1 techno b\u00edtum borgarinnar sem m\u00e9r leyst illa \u00e1)..<\/p>\n
\u00deetta voru allt \u00ed allt bestu t\u00f3nleikar sem \u00e9g hef s\u00e9\u00f0 \u00ed NYC, b\u00e6\u00f0i hva\u00f0 var\u00f0ar verkin og flutning, sem er sorglegt. Sorglegt af\u00fev\u00ed \u00feetta er mi\u00f0lungsgott \u00fe\u00fdskt samspil sem er betra en \u00fea\u00f0 sem best er \u00ed NYC. H\u00e9r er of mikil \u00e1hersla \u00e1 fr\u00edlans og f\u00f3lk f\u00e6r borga\u00f0 eftir fj\u00f6lda stykkja, ekki \u00e6fingart\u00edma, o.s.frv. Til skammar fyrir eitt af h\u00f6fu\u00f0b\u00f3lum heimsins. <\/p>\n","protected":false},"excerpt":{"rendered":"
Written by DBF mi\u00f0vikudagur, 14 n\u00f3vember 2007 Kunstensemble Neue Musik Berlin – Carnegie Hall, nov. 9, 2007. \u00c1 dagskr\u00e1 var: STEFAN BARTLING Mit Namen & RANDNOTIZ HELMUT OEHRING Philipp MARC SABAT (Music) \/ PETER SABAT (Film) AUTOMAT RODRIGUEZ Telegram from a Sea (words by Ron Winkler) INTERMISSION 1 STEFANO GERVASONI An (Quasi una serenata con […]<\/p>\n","protected":false},"author":2,"featured_media":0,"comment_status":"open","ping_status":"open","sticky":false,"template":"","format":"standard","meta":[],"categories":[5],"tags":[],"_links":{"self":[{"href":"https:\/\/www.slatur.is\/index.php?rest_route=\/wp\/v2\/posts\/423"}],"collection":[{"href":"https:\/\/www.slatur.is\/index.php?rest_route=\/wp\/v2\/posts"}],"about":[{"href":"https:\/\/www.slatur.is\/index.php?rest_route=\/wp\/v2\/types\/post"}],"author":[{"embeddable":true,"href":"https:\/\/www.slatur.is\/index.php?rest_route=\/wp\/v2\/users\/2"}],"replies":[{"embeddable":true,"href":"https:\/\/www.slatur.is\/index.php?rest_route=%2Fwp%2Fv2%2Fcomments&post=423"}],"version-history":[{"count":1,"href":"https:\/\/www.slatur.is\/index.php?rest_route=\/wp\/v2\/posts\/423\/revisions"}],"predecessor-version":[{"id":424,"href":"https:\/\/www.slatur.is\/index.php?rest_route=\/wp\/v2\/posts\/423\/revisions\/424"}],"wp:attachment":[{"href":"https:\/\/www.slatur.is\/index.php?rest_route=%2Fwp%2Fv2%2Fmedia&parent=423"}],"wp:term":[{"taxonomy":"category","embeddable":true,"href":"https:\/\/www.slatur.is\/index.php?rest_route=%2Fwp%2Fv2%2Fcategories&post=423"},{"taxonomy":"post_tag","embeddable":true,"href":"https:\/\/www.slatur.is\/index.php?rest_route=%2Fwp%2Fv2%2Ftags&post=423"}],"curies":[{"name":"wp","href":"https:\/\/api.w.org\/{rel}","templated":true}]}}