New notes
Neue Töne was a series of concerts for new music that took place in Düsseldorf from 1982 to 1987 . This concert series was initiated by the composers JU Lensing , Maria de Alvear and Francisco Estévez . The main program consisted of the works of young regional composers as well as well-known composers of new music and a mixture of video, performance, projects and actions.
While the concert series always had good attendance numbers, the organizers' interest shifted towards the theater towards the end. As a consequence of this, the Theater of Sounds was created in 1987 .
chronology
1982
The opening concert took place on May 8, 1982 in the Auxilium on Kölner Strasse . Compositions by the three initiators and some by fellow students at the time were played . Starkes Stück judged the opening concert :
"No subsidy, no well-known hall, 4 rehearsals, a rented piano, low entrance fees - and still a good concert."
This was followed by five more concerts between May and November in 1982. Mostly compositions by young composers from the circle of the initiators as well as well-known composers such as John Cage , Leoš Janáček and Krzysztof Penderecki were played . The local press praised the initiative in October 1982 and emphasized that the concerts met with lively public interest despite the voluntary work.
1983
In 1983 JU Lensing took over the artistic direction from Francisco Estévez. The former was now responsible for the organization and the program, while Maria de Alvear continued to take care of the coordination. The situation of the concert series improved in 1983, as one now received subsidies of 6,000 DM (5,717 €) from the "Support Düsseldorf Artists", a budget of the Düsseldorf Music Advisory Board. A total of five concerts were played in 1983: at the first concert on April 30, 1983, the focus was on the 45-minute performance “Geh dich Weg” by Matthias Wittekopf about a hit by Heintje .
The concert in May brought u. a. a project called "Audiovisual slide projection painting" by the visual artist Andreas Strach and the composer Klaus Röder .
At the concert on October 31, 1983, the Spanish avant-garde group "Taller de Música Mundana" (Atelier for secular music) performed, which with throat sounds and noise generators "formed a mixture of inextricable timbres" (Rheinische Post, November 3, 1983).
The concert on the following evening of November 1, 1983 offered a mixed program of scenic elements, tape compositions, sound montages and slide works . A piece by the composer Diethelm Zuckmantel was also performed. In the concert on December 10, 1983, Earle Brown's “December 1952” was performed in a production by Hans W. Schneider.
There was also a guest performance in Berlin in 1983 .
1984
Four concerts were planned for 1984. At the opening concert in May, tape compositions by the composers Wolfgang Hufschmidt , Klaus Damm, Matthias Wittekopf , Hans Werner Schneider and JU Lensing were played. The Rheinische Post summed up this concert :
“Nowhere else in Düsseldorf is experimenting so bold, and there is scope for new things, including uncomfortable things. whatever is going on musically, from chamber concerts to action theater, from electronic music to video performance, all of this has a podium in the Auxilium and, what is even more important, an audience. "
The second concert on June 9, 1984 was entitled "Strings, String Quartet". Apart from the avant-garde string quartets, two semi-theatrical pieces were shown: “Seminar Conference” for strings and two actors by Maria de Alvear and “Wo ist sie ” for dance, chamber ensemble, three speakers, electronics and slide projection by Francisco Estévez .
The concert on November 16, 1984 (which took place for the first time in Düsseldorf's zakk ), on the other hand, was dominated by electronic music: pieces by Dirk Reith , Ricardo Mandolini and a world premiere of the piece "Etude für Klangwandlerorchester" by Klaus Röder were mostly computer music .
The final concert on December 8, 1984 consisted exclusively of compositions from the same year by JU Lensing, Mathias Haus , Heinz D. Willke, Francisco Estévez, Thomas Blomenkamp, Diethelm Zuckmantel and Nicolaus A. Huber .
1985
In 1985 there were two changes to the concert series: The ensemble finally moved from the “Auxilium” to zakk on Fichtenstrasse in Düsseldorf. In addition, the previously loose initiative became a registered association . Francisco Estévez also left the group as he returned to Spain that year . Due to the larger venue, projects could now be implemented with greater effort. The kick-off concert on February 16, 1985 began with a seven-part joint production by JU Lensing, Erne Kis and Thomas Neuhaus called “Kunst-Stoff Drum Projekt”, in which computers, synthesizers , mixtures of concrete recordings and electronic synthesis with drum sounds were created by four playing live Drummers (Oliver Eltinger, Thomas Lorenz, Frank Köllges , Martin Schulz) were involved.
In addition to the “Neue Töne” series, the “New Music Theater” was introduced as a theme in the concert series for the first time in 1985, with Mathias Wittekopf's piece “I, go your way” and “I want to you - oh come on ”were premiered by JU Lensing. Schieffer, et al. sees this piece as a preliminary stage of the later Theater der Klänge , whose founder and artistic director is JU Lensing.
From June 19 to 21, 1985, a kind of picture and sound festival took place in cooperation with the Düsseldorf Film Institute . Even if no members of “Neue Töne” were involved in the acoustic collage “Die Schlacht” by Stephan Schwarz and in the photographic composition “Eine Minute Dunkel” by Wolfgang Pilz and Wolfgang Hufschmidt , it is included in their events. This also applies to the screening of experimental and avant-garde videos, which will take place on December 20/21. June 1985 at the Schaulandt company under the title " Infermental ".
At the concert on June 22nd at zakk, the drummer Christian Roderburg, winner of the city's sponsorship award , played five compositions as a soloist with a total playing time of 100 minutes.
Another special concert was the guest performance of the Brussels avant-garde dance company “Le Plan K”, which played the performance “Quarantine”. Afterwards, graduates from the universities of Cologne and Freiburg played music for woodwinds by Cristóbal Halffter , Klaus Huber , Karlheinz Stockhausen and others under the title “New Wind Music” . a.
The year 1985 ended with a “New Tones Party” under the title “For eyes and ears” in zakk.
1986
In 1986 the association “Neue Töne eV” moved into its office in the backyard of Ackerstrasse 22 in Düsseldorf. One of the first results was contacting Mark-Andreas Schlingensiepen and his “ensemble neue musik”. This contact resulted in a first concert on February 1, 1986 in the Tonhalle Düsseldorf , with works by FM Beyer, Martin Kregel, JU Lensing and the chamber concert by Alban Berg .
The budget plan for 1986 presented by JU Lensing is supported by Schieffer, et al. referred to as "illusory". A budget of approx. 150,000 DM (136,843 €) was planned in the planning. Ultimately, the association was able to implement three concerts with the budget it had actually acquired (which was lower): On February 15, 1986, the film versions of Mauricio Kagel's "Antithese", "Match" and "Ludwig van ..." were shown at zakk .
On the occasion of Samuel Beckett's 80th birthday , on April 13, 1986, language compositions with texts by Beckett were performed for the first time in the “Young Action Stage ” ( JuTa ). The pieces "Watt!" For an actor and twelve loudspeakers and "Trio III" for tape, guitar and speaker by Wolfgang Hufschmidt , "Rosengarten" for speaker, music box and tape by Klaus Damm and "Essen - En première Page" by Nicolaus Jenning played.
From November 14th to 18th, 1986 Neue Töne initiated a computer music festival with a total of seven events, a workshop in the Düsseldorf training center and an exhibition in the Düsseldorf music library . Sponsored by the city of Düsseldorf, WDR and other partners, this festival was the first festival for computer music in Düsseldorf. The opening concert took place in the Tonhalle and included in his program “Essay” by Gottfried Michael Koenig , “Contacts” by Karlheinz Stockhausen , “Nested Loops III” by Dirk Reith and “Piano Music” by Roland Pfrengle. The latter pieces were both from 1984. At the second concert in the Tonhalle, “Piano Studies” by Conlon Nancarrow was performed for the first time in Düsseldorf. In addition, tape concerts were held in the training center, at which pieces by winners of the 14th competition of the Institut international de musique électroacoustique de Bourges were performed. The final concert was again JU Lensing's “Kunst-Stoff Drum-Projekt”, this time in the Düsseldorf workshop .
1987
In 1987 there were only two concerts by Neue Töne: on September 26, 1987, in the small hall of the Tonhalle (today Helmut-Hentrich -aal) in the sponsorship "Jugend + Neue Musik" initiated by Peter Girth there was a concert entitled "Music and fine arts ”. “Sinfonia” and “Bauhaus T.” by JU Lensing, “Weiß” by Markus Lepper and “Trio II” by Wolfgang Hufschmidt were played.
On November 18, 1987, the penultimate concert of the series took place in the Stephanuskirche in Düsseldorf. In doing so, u. a. "Nahe zu fern" by Dirk Reith and "Kontrafaktur II" by Wolfgang Hufschmidt played.
In addition, the Theater der Klänge was founded on May 10, 1987 by JU Lensing, fellow students at the Folkwang Hochschule Essen and several Düsseldorf artists . It can be seen as a follow-up project to the musical theater attempts of the concert series.
1988
The last concert took place in the workshop in 1988 . The work of the French composer Jean-Jacques Lemêtre was presented over two days under the title “New Tones” .
backgrounds
The composer JU Lensing from Düsseldorf studied composition with Wolfgang Hufschmidt and electronic composition with Dirk Reith at the Folkwang-Hochschule in Essen . There he met the Spanish composer Francisco Estévez , who studied composition in Düsseldorf with Günther Becker at the Robert Schumann University of Düsseldorf . While Lensing was looking for a platform for his studies in electronic and computer music, Estévez wanted to create a performance venue for the small Spanish-speaking composer community. The Spanish-German composer Maria de Alvear , who was studying “New Music Theater” with Mauricio Kagel at the Cologne University of Music, came in through personal contact with Francisco Estévez. From 1987 Lensing also took master classes in “new music theater” at Kagel. This also explains how compositions by Spanish-speaking composers were initially performed and, after Estévez moved to Spain in 1985, the focus shifted more towards electronic music and more and more students from Hufschmidt and Reith presented pieces, as did the two professors themselves.
consequences
After the first concert in the Tonhalle Düsseldorf on February 1, 1986, the then director of the Düsseldorf Symphony Orchestra, Peter Girth , wrote a statement on the annual program “New Tones” 1986 for the meeting of the City of Düsseldorf's Music Advisory Board on February 14, 1986. In it he recommended the next Collaboration between Lensing and Schlingensiepen and considered whether it would not make sense to set up a secretariat for new music in the Tonhalle that was shared by all Düsseldorf groups, where the Düsseldorf Symphony Orchestra, Neue Töne, the “ensemble neue musik”, the “Düsseldorfer Ensemble ", U. a. would be involved. This gave rise to the “Youth + New Music” secretariat, which held concerts on all aspects of new music in the Tonhalle in the following years.
Another foundation related to the concert series is the Theater of Sounds . It is the continuation of the first attempts at music theater that took place as part of New Tones.
literature
- Hans Hubert Schieffer, Hermann Josef Müller: New Tones . In: New Music in Düsseldorf since 1945: a contribution to the history of music and the city's musical life . 1st edition. tape 4 . Music library of the Düsseldorf city libraries, Cologne-Rheinkassel 1998, ISBN 3-925366-64-4 , June 3, p. 126-131 .
Individual evidence
- ↑ a b c d Schieffer: (1998) p. 126.
- ↑ Schieffer: (1998) p. 126 f.
- ↑ Strong piece, June 1982 (quoted from Schieffer: (1998) p. 126 f.)
- ↑ a b c d e Schieffer: (1998) p. 127.
- ^ A b Diethelm Zuckmantel: Rheinische Post . Düsseldorf October 8, 1982.
- ↑ a b c d e f Schieffer: (1998) p. 129.
- ↑ a b c d Schieffer: (1998) p. 128.
- ^ Diethelm Zuckmantel: Rheinische Post . Düsseldorf 8th May 1984.
- ↑ a b Schieffer: (1998) p. 128 f.
- ↑ a b c d Schieffer: (1998) p. 130.
- ↑ Schieffer: (1998) p. 130 f.
- ↑ a b c d Schieffer: (1998) p. 131.
- ^ JU Lensing: Prof. JU Lensing . In: Theater of Sounds: 1987–2012 . Theater of Sounds, Düsseldorf 2012, p. 22 .
- ↑ Schieffer: (1998) p. 49 ff.