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Darmstädter Ferienkurse 2021

Published online by Cambridge University Press:  15 December 2021

Max Erwin
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Extract

Darmstadt was a bit different this year. The original 1946 courses had 120 registered participants in situ; I was told that the number this time around was larger (around 140), but only just. As an announcement for the final post-concert wrap stated, these were the COVID-19 courses. So: much smaller, much more concentrated, with almost every performance streamed online, and every other seat in the concert hall marked off with a weird sort of police tape with the Darmstadt logo on it. It's difficult to write about these things without lapsing into world-historical rhetorical posturing, as if the best lens to view the series of overlapping catastrophes we are living through is a biannual summer course for what, for better or worse, continues to be referred to as new music.

Type
FIRST PERFORMANCES
Information
Tempo , Volume 76 , Issue 299 , January 2022 , pp. 83 - 87
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Copyright
Copyright © The Author(s), 2021. Published by Cambridge University Press

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References

1 Vázquez, Rolando, ‘The Decolonial Option and the Practice of Listening’, in Defragmentation: Curating Contemporary Music, eds Freydank, Sylvia and Rebhahn, Michael (Mainz: Schott, 2019), pp. 45–52Google Scholar.

2 A truncated version of the lecture, with the potentially inflammatory full stop omitted in the title, is printed in Darmstädter Beiträge zur Neuen Musik, vol. 25, ed. Michael Rebhahn and Thomas Schäfer (Mainz: Schott, 2020), pp. 17–26.