Chris Newman, copyright Anna Kott, 2018; Christian Wolff, copyright Gisela Gronemeyer, 1998; Bauern
Fr, 21/09/2018, 19:30 Uhr
Konzert / Offene Probe


2 Uraufführungen und ein Abenteuer

In 2017, CHRISTIAN WOLFF wrote “6 lines for CHRIS NEWMAN, another 6 lines”.
CHRIS NEWMAN: “Christian’s piece sounds found rather than made up. It has the manner of folk music in that it just seems to simply exist. It is written as a monody, but the lines consist of self-contained elements like fragments of thought punctuated by wedges (a time wedge), as if these fragments could co-exist in your mind. The second of the 6 lines has harmonized itself as there were no clefs indicated & I wrote each line out in the three clefs provided by the string ensemble for which I made this version. But in spite of the self-harmonisation it still manages to maintain a monadic quality, more exaggerated by its new setting, this emphasizing the depth achieved by the projected simultaneity of the punctuated
“This music is horizontal. The wedges are wedges in the time that lie down in layers in the listener. The listener builds the vertical”. he adds the following day.

In 2018 NEWMAN composed a “Symphonic Spin-off” for the chamber orchestra of the Leo Kestenberg Music School under the direction of ALEXANDER RAMM.
“Symphonic Spin-off as it is called reveals the viola & cello parts of one of the more recent of my symphonies (I believe No. 14) which is something like taking a walk through the middle of an existing piece, like taking a walk through a forest but not along a pathway but through the density of the forest itself. This is a kind of cut-out thereof as if one had extracted this passage & presented it as an entirety in its own right using it as a sample of its own surrounding.“

BÉLA BARTÓK and ZOLTÁN KODÁLY were among the first to recognize the significance and the artistic value of folk music. In the beginning of the 20th century they phonographed folk music at the place of its origin. – Bartók already distinguished less complex arrangements from highly artificial pieces that develop thrilling musical strength.
Nowadays, the “arrangement” of folk music is one of the most repulsive manifestations of abuse. –- Therefore, the word “folk music” is almost impossible to use at all. –- We search for the originals! We want to make it heard – in the raw beauty of their existence – which is a great adventure!

In their compositional thinking, Christian Wolff and Chris Newman accept different ways for musicians performing highly artistically, or, as Chris Newman once put it: “These pieces were written for performing human beings, rather than instrument-specific musicians.” Christian Wolff talks about American avant-garde music: “For us political music has invariably an element of popular music going on, it‘s music for larger groups of people, whereas avant-garde music has a very, very small audience. (…) And finally there is something else, (...) and that is the folk music of this country.” (Christian Wolff „Cues“, MusikTexte Köln, 1998) – Both composers are aware of the great danger of commercialization. - And that’s where we’re looking for a way out.

Musicians who have sung at work or celebrated after work are precisely those who - highly qualified - without studying - produced an art that - without being “political art” - can be called deeply political. – It’s also what we lack. – CHRISTIAN WOLFF: “When music is understood as a political act, it involves the just distribution, use and understanding of power - and these are constantly changing throughout history.” (program note, concert on February 6th, 1999, Konzerthaus Berlin).

  • CHRISTIAN WOLFF: »„6 LINES FOR CHRIS NEWMAN, ANOTHER 6 LINES”« Transkription für das Kammerorchester der LKMS von C. Newman, 2018 (2017, UA)

Newman: Christians Stück ist als Monodie geschrieben. Die zweite Hälfte der „6 lines“ hat sich harmonisiert & ich habe jede Zeile in die drei Notenschlüssel des Streicherensembles geschrieben. Es gelingt monodische Qualität zu wahren.

  • CHRIS NEWMAN: »SYMPHONIC SPIN-OFF« für das Kammerorchester der Leo Kestenberg Musikschule und Alexander Ramm (2018, UA)

"Symphonic Spin-off, enthüllt Viola- und Cellopartie meiner Symphonie. Das Stück ist eine Art Ausschnitt, als hätte man diese Passage extrahiert und als eigenständiges Ganzes präsentiert, indem man es als Muster seiner eigenen Umgebung verwendet.




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