‘Filming the invisible’: Barrie Gavin in conversation with John Wyver

2021 ◽  
Vol 9 (1) ◽  
pp. 15-28 ◽  
Author(s):  
John Wyver
Keyword(s):  
Working Relationships ◽  
Karlheinz Stockhausen ◽  
Pierre Boulez ◽  
Music Television ◽  
Toru Takemitsu ◽  
Innovative Approaches ◽  
The Invisible

Barrie Gavin (b. 1935) is a celebrated producer, director and writer who is best known for numerous programmes about music and musicians made primarily for BBC Television from 1964 onwards. He worked on numerous occasions with the conductors Pierre Boulez and Simon Rattle, and with them and other collaborators he has directed more than 90 films. In this conversation recorded in Leeds in June 2018 Gavin discusses with the writer and producer John Wyver his ideas about making music television, his innovative approaches to filmmaking, his profiles of composers including Luigi Nono, Karlheinz Stockhausen and Toru Takemitsu, and his working relationships with Boulez and Rattle.

Serialism

Artful Noise ◽  
2020 ◽  
pp. 82-96
Author(s):  
Thomas Siwe
Keyword(s):  
Arnold Schoenberg ◽  
Anton Webern ◽  
Point System ◽  
Tonal Music ◽  
Karlheinz Stockhausen ◽  
Pierre Boulez ◽  
Compositional Approach ◽  
Alberto Ginastera ◽  
Percussion Instruments ◽  
German Composer

In the 1950s and 1960s, many composers, influenced by Arnold Schoenberg and Anton Webern, embraced serial compositional techniques. Tonal music became atonal and composers, such as Pierre Boulez from France and the German composer, Karlheinz Stockhausen, championed this new compositional approach. This chapter defines serialism and how composers applied it to works for percussion instruments. Music examples include Stockhausen’s solo work, Zyklus, with its totally original notational system, and a setting of an E. E. Cummings poem, Circles, by the Italian composer Luciano Berio. American composer Charles Wuorinen’s use of Milton Babbitt’s “time point” system in both his solo work Janissary Music and his forty-five-minute Percussion Symphony is presented, as is the work of Argentine composer Alberto Ginastera, who contributed to the literature one of the twentieth century’s largest percussion works, Cantata para América Mágica, for dramatic soprano and fifty-three percussion instruments. A discussion of percussion solo and ensemble works by the Greek composer, architect, and mathematician Iannis Xenakis completes the chapter.

Innovative approaches to the invisible defect on STT-MRAM

2019 ◽  
Vol 100-101 ◽  
pp. 113431
Author(s):  
Gwang Wook Lee ◽  
Euna Ok ◽  
Suhaeng Heo ◽  
Daeeun Jeong ◽  
Joonmyoung Lee ◽  
...  
Keyword(s):  
Innovative Approaches ◽  
The Invisible

Donatoni, Franco (1927–2000)

2018 ◽  
Author(s):  
Mitch Renaud
Keyword(s):  
String Quartet ◽  
Work Of Art ◽  
Karlheinz Stockhausen ◽  
Pierre Boulez ◽  
Music Program ◽  
Rite Of Spring ◽  
Multiple Levels ◽  
The Creation ◽  
Mature Work ◽  
And Control

Composer and poet Franco Donatoni studied in Vienna before attending the Darmstadt summer music program, where he encountered Pierre Boulez and Karlheinz Stockhausen, among others. Donatoni took to the serial practices of Darmstadt but attempted to join them with John Cage’s project of separating the composer’s ego from the work of art. These encounters eventually led him to apply what he referred to as codes to found or borrowed material. In any given mature work, codes operate on multiple levels and control all musical parameters. His early experiments with codes, such as EtwasRuhigerimAusdruck (1967), aim for the creation of a work completely autonomous from its maker; however, Donatoni’s thinking gradually changed to acknowledge his role in the deployment of codes. Works like La souris sans sourire (1988) for string quartet demonstrate his self-defined joyous period, where he employed a wider range of materials. One of the clearest examples of his use of codes is his final piece Esa (In Cauda V) (2000), written for his student Esa-Pekka Salonen, which uses the musical spelling of Esa’s name and material from The Rite of Spring.

Messiaen, Olivier (1908–1992)

2018 ◽  
Author(s):  
Stephen Broad
Keyword(s):  
Twentieth Century ◽  
Compositional Style ◽  
Olivier Messiaen ◽  
Emotional Intensity ◽  
Karlheinz Stockhausen ◽  
Pierre Boulez ◽  
Catholic Faith ◽  
Considerable Detail

Olivier Messiaen was one of the foremost composers of the twentieth century, with a distinctive compositional style of great emotional intensity. This style drew on a diverse array of rhythmic, harmonic, timbral, and formal influences that included the songs of birds, and expressed a deeply held Catholic faith. Messiaen was influential as a teacher and foresaw the concept of total serialism taken forward by his pupils Pierre Boulez and Karlheinz Stockhausen. There are major works throughout his sixty-year career, including La Nativité du Seigneur (1935), the Quatuor pour la fin du temps (Quartet for the End of Time, completed 1941), Catalogue d’oiseaux (completed 1958), Couleurs de la Cité Céleste (1963), Des canyons aux étoiles (completed 1974) and St François d’Assise (completed 1983). In his treatises Technique de mon langage musical (1944) and Traité de rythme, de couleur, et d’ornithologie (1994–2002), he set out his musical inspirations and processes in considerable detail.

Nono, Luigi (1924–90)

2018 ◽  
Author(s):  
Carola Nielinger-Vakil
Keyword(s):  
World War Ii ◽  
Electronic Music ◽  
Music Theater ◽  
Karlheinz Stockhausen ◽  
Major Work ◽  
Second Viennese School ◽  
Avant Garde ◽  
Political Music ◽  
Pierre Boulez ◽  
Law Degree

Luigi Nono stands out as one of the most uncompromising modernist composers of the Italian avant-garde. Together with Karlheinz Stockhausen and Pierre Boulez, Nono was one of the leading representatives of integral serialism in Europe after 1945. Nono is further known for his political music theater, his innovative spatial use of electronic music and live-electronics, avant-garde and microtonal instrumental writing, and an exceptionally lyric and communicative application of complex compositional procedures. Luigi Nono was born into a wealthy Venetian family just after Mussolini came to power. Toward the end of World War II, Nono began to study composition with G Fr Malipiero at the Venice conservatoire (1943–5) while completing a law degree at Padova University (1942–7). At the conservatoire, Bruno Maderna’s influential composition tutorials sparked a life-long interest in Renaissance polyphony and the works of the Second Viennese School. Equally fundamental was Hermann Scherchen’s conducting course (Venice, 1948). Luigi Dallapiccola’s lyric serialism was another formative influence at this time. Nono’s first major work, the Variazioni canoniche sulla serie dell’op.41 di Arnold Schönberg, was premiered under Scherchen at the Darmstadt New Music Courses in 1950. Together with Karlheinz Stockhausen and Pierre Boulez, Nono subsequently established himself as one of the leading composers of integral serialism.

Modernists

2017 ◽  
Author(s):  
James Wierzbicki
Keyword(s):  
New Music ◽  
Luciano Berio ◽  
Karlheinz Stockhausen ◽  
Postwar America ◽  
Perceived Need ◽  
Pierre Boulez ◽  
European Civilization

This chapter demonstrates how when it comes to modernism in postwar America, the most influential European composers were the Frenchman Pierre Boulez, the Italians Luciano Berio and Luigi Nono, and the German Karlheinz Stockhausen. Being born between 1924 and 1928, all of them had seen their homelands torn by the clash of Allied and Axis forces, and they had been personally shaken by the violence that nearly brought the whole of European civilization crashing down around them. The Americans were slower to respond to the perceived need for a drastically new music than were the Europeans, and when their response did come it was not so blatantly confrontational. Although many of the American modernists also had personal wartime experiences as horrific as those of their European contemporaries, the heritage with which they had grown up was never so direly threatened as had been that of Europe.

Anton Webern (1883−1945)

2018 ◽  
Author(s):  
Kathryn Bailey Puffett
Keyword(s):  
Contemporary Music ◽  
Anton Webern ◽  
Alban Berg ◽  
Karlheinz Stockhausen ◽  
Strict Adherence ◽  
Second Viennese School ◽  
Musical Performances ◽  
Pierre Boulez ◽  
The 1950S ◽  
Second World

Webern was one of the three principal composers of the Second Viennese School. Probably Arnold Schoenberg’s first private pupil and a devoted lifelong friend, he was one of the founders in 1918, along with Schoenberg and Alban Berg, of the Society for Private Musical Performances in Vienna, a society dedicated to the furtherance of the understanding of contemporary music whose concerts were attended by invitation only. He was also an immediate convert to Schoenberg’s twelve-note technique, which was announced in 1923; in fact it is clear that Webern was experimenting with ideas of this sort already in 1911. Webern was destined to become a model in the 1950s for composers such as Pierre Boulez and Karlheinz Stockhausen and other integral serialists of the Darmstadt school, who eagerly seized upon his strict adherence to twelve-note rows (from 1926 onwards) and his careful organization of rhythm and dynamics, which led to an total serialism in the 1950s and 1960s of which he would almost certainly have despaired. He was also a conductor of considerable merit, though the Second World War more or less put an end to both his conducting career and the performance of his music.

Tremblay, Gilles (1932--)

2018 ◽  
Author(s):  
Marie-Thérèse Lefebvre
Keyword(s):  
Twentieth Century ◽  
New Music ◽  
Musical Composition ◽  
Olivier Messiaen ◽  
Karlheinz Stockhausen ◽  
Iannis Xenakis ◽  
Guillaume De Machaut ◽  
The Past ◽  
Pierre Boulez ◽  
School Of Music

Composer and musical pedagogue Gilles Tremblay made significant contributions to the development of musical composition in Quebec in the second half of the twentieth century. After studying at the Montreal Conservatory (Conservatoire de Musique du Québec à Montréal), he attended workshops at the Marlboro School of Music (Vermont) in the summers of 1950, 1951, and 1953. He lived in Paris from 1954 to 1961, where he enrolled in the piano studio of Yvonne Loriod, took analysis courses with Olivier Messiaen, attended workshops on Ondes Martenot, and received counterpoint lessons with Andrée Vaurabourg-Honegger. Tremblay attended the Darmstadt International Summer Courses in 1957 and 1960, and worked at the GRM (Groupe de Recherches Musicales) led by Pierre Schaeffer. Involved at this time with the networks of French new music, he frequently met with Pierre Boulez, Karlheinz Stockhausen, and Iannis Xénakis. In 1961 Tremblay returned to Quebec and was appointed professor of analysis and composition at the Montreal Conservatory, a position he occupied until his retirement in 1997. His courses at the Conservatory were inspired by Messiaen’s famous analysis class in Paris. Tremblay found connections between master works of Western music that linked the past to the present, from Gregorian chants to the polyphony of Guillaume de Machaut, Monteverdi, and Mozart, through to the twentieth century. His courses were extremely influential to two or three generations of composers in Quebec.

Negotiating Freedom and Control in Composition

2014 ◽  
Author(s):  
Sabine Feisst
Keyword(s):  
Classical Music ◽  
Karlheinz Stockhausen ◽  
Witold Lutoslawski ◽  
Free Improvisation ◽  
Pierre Boulez ◽  
Improvised Music ◽  
And Performance ◽  
Terry Riley ◽  
The Many

This chapter discusses the many meanings of improvisation and free improvisation in Western classical music from 1950 to 1980 and examines criteria for improvisation, composition, and performance. It investigates concepts related to improvisation such as indeterminacy, chance, aleatory, open form, minimal music, and experimental music. Discussion focuses on the terminology, ideas, and selected works of Anthony Braxton, André Boucourechliev, Pierre Boulez, John Cage, Cornelius Cardew, Alvin Curran, Franco Evangelisti, Vinko Globokar, Roman Haubenstock-Ramati, Joëlle Léandre, Witold Lutosławski, Pauline Oliveros, Terry Riley, Karlheinz Stockhausen, Richard Teitelbaum, Frances-Marie Uitti, La Monte Young, and Pamela Z. Finally, it considers the role of composers and performers works involving improvisation, the improvisers’ relationship to the audience, and role of listeners in performances of improvised music.

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