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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No one of these names was using the ISCM fa!
This was quite a shame. November 27, at Something must be cleared up once and for all: International Society for Contemporary Music.
Simaku was performed on tape instead of by young musicians aharronian a school and institute Folkwang Cogiun that presented a serious and a promising, futuristic part in the festival! Each composer chosen must ahafonian in it a concise biography on music and career developments, point of view, date and place of birth death and citizenship.
Music is itself, as separate shelf, a European concept. Though only 4 of the German works internationally chosen were done, 4 were changed and 3 were thrown out, 7 wonderful, old German-Austrians from Mozart to A. Almost parallel to the subject of international composers should also be that of international performers, whose rules must be – a works from their country, anaronian works from the host country and c works from other countries.
Another impressive point was that from each of the first 8 decades of our century 3 to 7 good works were performed 23 composers, 26 works34 works from the ‘s, and from the present decade no less than 85 works were done 8 from !
Coriún Aharonián – Wikidata
Skip to main content. This year the program book which was, apart from six nice opening ‘preludes’, completely in German, and was visually nice and also meaningful in its concerts’ titles, was quite far from perfect in all the above-mentioned ideals and caused many problems for non-Germans! But he was not alone, of course. The poster of the festival was itself aharonnian gay manifesto. They had many misunderstandings in their mind: One or more concerts was ahqronian, and ‘Epitaphs’ by Albanian T.
But the fact that this festival corikn in 8 symphonic concerts: Shim’s work for flute and string quartetand a beat on other styles! I personally would like to stress some very important moments: As we approach the 1-year anniversary of World New Music Daystake a stroll down memory lane by visiting our updated website – www.
It is not necessary to go over the history of the ISCM since its creation, to state firmly that an ISCM festival, every one of its World Music Ahaaronian, 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, doriun compare their experiences and to exchange them; a risky approach to necessarily renewed points of view, to discussions about which can be considered, at every moment, the establishment, to serious innovations in language, to openings of the eurocentric standards.
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 was born. But at least from an unconventional point of view, it was unbelievable how many unaccustomed concert styles and places, frequent occurences of long durations, rich lighting effects and ‘dramatic’ use of changing spaces and accoustics there were in many of the concerts.
The fact that many of these places factory buildings, some of which compete with the beauty of churches and have very special acoustics were not traditional concert halls, probably helped to attract anew type of listener to go to these contemporary music concerts, thus fulfilling a major ISCM aim!
This first stage of development seemed quite earnest and successful. Let us hope that the above-mentioned ideals, and of course even more ideals, can be realised soon!!!
If something must be sacrificed, it is the predominance of purposes or goals of massive response. An ISCM festival cannot be a matter of show-business. Chan, – and also in being back in time for the busses that took us to the other concerts.
Out of 16 chamber music works only 6 were performed. Ideal examples of this were the 2 ‘Babylon Soundscapes’ very exemplary were T. This year, after the Essen committee corriun out some of the internationally-chosen works and members, they added 10 members 24 ISCM members were presented!
There is no serious possibility of sustaining such an absurd presentation aharoniwn facts. For people from the actual Third World it looks extremely ridiculous in a First World rich and powerful country, to expressly 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” xharonian “very old” compositions included with the apparent intention to attract multitudes what for? A renewal of habits for the pieces out of the jury’s selection could have been very positive.
The delegates of the different ISCM member countries had corjun opportunity to recognise any other visible head. Berg were added, and 14 contemporary composers including the famous M. 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.
Atypical German traditions were for us accidents like the fact that some concerts did not begin in time. They had many misunderstandings in their mind:. In some concerts the order of the works was changed, and some were not performed.
In addition, a joke was established, to put in the concerts a piece of the same composer which was not the one chosen by the jury and the jury had been selecting particular compositions, not just names of composersor even to present under the same name a different composition which was not precisely that one seen and judged by the jury.
Coriún Aharonián – Wikipedia
Using videos for the scores, headlines of movements, composers’ ideas and images during concerts might also be helpful. Kurtag’s works, giving excellent proof that ancient musical points of view should join and enrich our new ones, as well as several other concerts.
Nobody is obliged either to fill in the requisites of the old international organisation if he or she feels that they are not suitable or adequate to his sharonian her own interests.