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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To attract new audiences, some street and park concerts should also be produced, as well as concerts in all types of museums. Though I am sure that there are many more modern German soloists, ensembles and orchestras than the ca. The Hollywoodish nouveau-riche concept of mega-show imposed on the whole event brought as a consequence the neglect of quality and even of seriousness: Learn more information here: The delegates of the different ISCM member countries had no opportunity to recognise any other visible head.
As we approach the 1-year aharomian of World New Music Daystake a stroll down memory lane by visiting our updated website – www.
Coriún Aharonián – Wikipedia
Unforgettable zharonian like the wonderful ‘Arditti Quartet’, the excellent violinist Mieko Kanno, the B. Let us now point out some of the many remarkable aspects of the Essen World Music days This could be courageous and positive, but not in the ambitus of the ISCM, an institution that has always tried to respect the right to gender of every composer but has never decided to become an international gay guild.
Skip to main content. One of the main aims of those who gave money to the festival was to develop the ‘Ruhrgebiet’ into a Aaharonian cultural center.
Real perfection will be achieved when all of the ISCM membersl as well as ‘poorer’, non-member countries are included! One or more concerts was cancelled, and ‘Epitaphs’ by Albanian T.
This was quite a shame. Like Austria infor instance, with the visible head of the late Wilhelm Zobl. Instead of the other 7 symphonic works, 6 chamber music works by these composers were performed, and 1 composer was thrown out! Music is itself, as separate shelf, a European concept.
Coriún Aharonián – Wikidata
The train timetable caused problems in being on time for the attractive ‘Matines Electroniques’ in a good hall in the Folkwang Hochschule – in which the excellent, resourceful ‘overture’ was ‘Unknown Journey’ by Joshuha K.
But the possible good intentions – for instance, some homages to great, recognised names, or the possibility of giving a kind of world compositional landscape – were hidden by lots of junk. Out of 16 chamber music works only 6 were performed. So, nobody has the right to use it for this purpose.
After enjoying no less than 8 ISCM festivals, including number 67 – ‘The Ruhr Gebiet ‘, I expect at least 8 general ideals to be realised in the future festivals!
He could have done everything alone, or together with his friends. We can also expect to be reminded of the existence of representatives of more ancient generations, whose music changed a former style!
In any case, he refused, with an angry look on his face, all critics in the General Assembly of the ISCM, and left the place in a temper. 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 Days, 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, to 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. A fundamental point must be reminded here: This year, after the Essen committee threw out some of the internationally-chosen works and members, they added 10 members 24 ISCM members were presented!
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 or her own interests. And because there is proof that young students naturally understand the music of their own generation the Cologne Hochschule was a good example in the ISCM festivalthey should be asked to perform music by their friends and teachers!
November 27, at Something must be cleared up once and for all: Ideal examples of this were the 2 ‘Babylon Soundscapes’ very exemplary were T. 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.
I personally would like to stress some very important moments: Still, works aharronian ‘Diastasis’ W. Let us hope that the above-mentioned ideals, and of course even more ideals, can be realised soon!!! In some concerts the order of the works was changed, and some were not performed.
Varese, Luigi Nono, etc. Shim’s work for flute and string quartetand a beat on other styles! 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.
October 13, at 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. The 2 ‘recommended performances’ were thrown out! Almost parallel to the subject of international composers should also be that of international performers, whose rules must be – a works from their country, b works from the host country and c works from other countries.
But the fact that this festival presented in 8 symphonic concerts: And the duality of art music as a parallel language to popular music, with their different codes, is also a European concept. It is not an accident that the more colonised a country has been, the deeper are its roots in the field of an art music of its own, and that the oldest colonised countries have more possibilities of having found their own paths within the present-day creation of art music.
These considerations were evidently not clear to the organisers of the World Music Days in Essen in june-july As the Ruhr area was a survivor of a glorious industrial big development related with coal and iron, many concerts were suffered in dirty and non-musical spaces, very interesting for other purposes but not because of their ahraonian and their elementary comfort for listening new music.