Beruflich Dokumente
Kultur Dokumente
Holliger-
Personal afterthoughts
-A few of the submitted scores are quite impressive. However, in my appreciation, there are a few important
questions remaining unanswered:
-Richly differentiated use of harmony (instead of the ubiquitous fondness for clusters), invented by a truly
keen musical ear?
-What is the reason for so many ostinati, so many perpetually repeated patterns?
-What is the reason for using blankets of sound, which might sometimes sound well, but are completely
neutral in character?
-Where are the subtle modifications of tempi, the sense of a natural, organic pulsation, of floating and
weightlessness?
-What is the reason for the ubiquitous use of the tempo 60?
-Why is it that many young composers obviously are not familiar with the music of Schumann, Debussy,
Berg, Bernd A. Zimmermann, Elliott Carter, Gyrgy Kurtg? The submitted scores very rarely show any
reflexion on those composers momentous works.
-Why is it that most participants chose to write for full orchestra, instead of searching for a transparent,
diaphanous sound completely transparent to the ear?
In addition to the four scores chosen, I would like to propose six additional works which have impressed me
through highly original, personal messages and through an individual flow of the musical language,
although the technical implementation of the creative ideas has not yet been achieved in a satisfactory way
in those works.
I have decided to submit my notes on all the scores, not only on the chosen ones.
80 e le stelle innumerevoli per In places, glossy orchestral sound. In other places, too many
grande orchestra repetitive patterns. Too much symmetry, which does not occur in
connection with the stars.
81 Now, It Is Past Lack of articulation. Primitive rhythmic composition. No legato/non
legato. Might have been attractive through the use of sho, but isn't.
82 Nocturuno Sinfnico For Pleasant to hear in parts, but consists of clichs throughout.
symphony orchestra Blanket of sound. Very conventional orchestration.
83 Helles Bild Pour Orchestre Very unsatisfactory harmonic work. Many chords of fifths and
fourths, doublings. The form is slightly more convincing, but too
schematic.
84 Waterfall Clearly and carefully worked. The harmonic character is somewhat
too soft, too repetitive, sickly sweet. Too many similar moving
patterns. The high pizzicato harmonics at the beginning do not
sound. Pleasing neo-impressionism.
85 Dulcet Harmony For Original. Pleasant after the bustling activity of most of the other
Orchestra works. The sound impression is very important.
86 HAILING Well intentioned. Corny fixed elements of melody, everything
doubled. Somewhat better in the "violento" towards the end. No
idea of how to use a harp!
89 ...(AN EPITAPH TO THE Form and sound are good. Unfortunately, basic instrumental
STARS)for orchestra objections. Too many chromatic clusters and chromatic scales.
Minor third harmonic do not make a good effect. Trombone
glissando is impossible. Strings: no minor third harmonics
instead: double octave harmonics of fourth. From bar 385, diatonic
chords ok. From bar 398, string harmonics would be easier if
different strings were mixed. From bar 311: harp lowest C and D
strings can be tuned only at the beginning of a piece they dont
change with the pedal changes. 239 the episode D c sharp in
woodwinds is very strange indeed. Cluster harmonics from bar 268:
why clusters only? Why not real harmonies?
90 At Dawn for Orchestra Good project, not too well realized. The use of the instruments is
lacking skill in many places (strings, oboe)
91 Drober l'herbe magique de Mediocre background music.
la Lgende du Serpent
Blanc
92 Midnight Parallel Tokyo Amateurish. Strange representation of sound. Formally very
Beyond Clouds sul il approximate.
sokandabe artigianato for
Orchestra
93 THE PASSED DREAMS As the score can only be read using a magnifying glass, I was
OF POET BEI DAOFor a unable to peruse all of it. Differentiated music without the usual
Chinese poemTHE clich blanket of sound. Economical, yet complex. Good
ANSWER'by Bei Dao For orchestration!
Orchestra
94 Convulsions For Orchestra Mechanical music why use an orchestra? The rhythms are no
organic at all. It will be impossible to achieve precision in playing
together. The different rhythmical patterns will be difficult to
appreciate by the ear. An unreasonable challenge for the musicians!
95 Sinfonia for orchestra The melodic gestures and turns are too monotonous. Too much
investment yielding a rather tedious result. Oboe: doesnt go above
high G. Strings: double octave harmonics col legno tratto dont
really sound. Harp: Doesnt go above high G.
96 Variations by E.Vernon's The piano 4 hands is an idea by Ives. Not bad, until it starts to
Suggestion resemble Mendelssohn and Saint-Saens. Final section: Chicago jazz
devoid of content.
97 Elegy Nice beginning, lack of inspiration after G, not recoverable by good
ending (same as beginning)
98 Tremor for Orchestra The slow parts are tedious. The harmonies of notes held for a long
time are unclear because of the use of micro intervals. An
impression of greyness. Starting at Energico et animato, somewhat
more interesting. Many pizzicati are too high. Quarter tones are
difficult to play in fast passages (violins, horns).
99 Cell divisionfor Idling in neutral. At least, a good exercise of rhythm for the
Orchestra musicians.
100 Symphonic Weak imitation of Mahler, badly orchestrated
MovementDarkness of
despair
101 Dust Bowl Diaries Musical dust, dried-out imagination
102 As fallen snow Sounds good. The form is too rigid, somewhat ostentatious.
103 The interwing of some Little substance, sounds very bad in large parts. A lot of purely
music Ou Modan Society mechanical processes (Sevcic for strings)
104 SENRITSU for Orchestra Excellent. Unclear, whether violin clef drums and wood blocks
mean pitched sounds!
105 Horoscope No.1-September Not an auspicious horoscope. Starting at B, it becomes somewhat
2016- more interesting. Horns 1, 2 often too high. Possibly transposed?
106 Fata Morgana for Form is unclear. Whence whither. Much investment, little effect.
Orchestra Orchestration: impossible harmonics (Vl f!). Picc sometimes too
high. Harp: quarter tone pedal glissando is impossible. Oboe
multiphonics: fingerings should be indicated.
107 Stairs in the Mist No comment
108 a.amarita for orchestra Between impressionism, minimal and Prt. Why such music?
109 Ritual for Orchestra Almost undecipherable copy. Not really convincing. What is the
reason for the use of modal melodic elements?
110 Molecular No comment
111 Sparkling For orchestra Partly brittle, partly too ornamental. Harmonies are uninteresting.
Many elements wont sound. Hardly any sparkling. Formally very
vague, unclear.
112 Dim Blue Pleasant film music
113 Imagination-Anamorphosis Sounds impressive, perhaps somewhat too primitive. Mistake in
for Orchestra orchestration: the top G in the harp will practically not sound, the
same for the piccolo high C (piccolo sounds good only to A flat). Long
glissandi in brass are possible only by cheating. Legno battuto
doesnt sound in highest register.
114 Vortice For orchestra Clear lines, harmonies are clearly discernable by the ear. Gradual
densification, quintuplet passage possibly too long and monotonous.
Transparent orchestration.
115 Grace Bigotry in music.