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Published online by Cambridge University Press: 20 December 2016
It is now six weeks since I stepped between the train and the platform at Frankfurt am Hain, rushing to catch the slightly delayed 17:34 train to Darmstadt Hauptbahnhof. I'm not sure why I was rushing – the first concert was not until 20:00, so I had plenty of time. My right foot fell through, and the front of my leg hit the step of the train quite hard. I thought it would bleed, but it didn't. It just turned to a very hard bruise (haematoma I was later told). You couldn't really see the raised bump with the eye, it wasn't sore, but if you ran your hand over my leg you could feel it. I had booked my train from Liverpool specifically so I could see Anne Teresa De Keersmaeker's Vortex Temporum once more. I had seen it at Sadler's Wells and had been pleased, but was lucky enough to see Rosas performing Work/Travail/Arbeid as an installation at the Turbine Hall at Tate Modern. There, it was a revelation. Whether it was the space, the extra forces, or just the freedom to walk away, I was entranced. Best of all it was free. She was there herself, making comments, keeping an eye on things.
1 Walser, Robert, The Assistant, translated by Bernofsky, Susan (New York: New Directions, c. 2007), p. 32 Google Scholar.
2 The Force of Things. An Opera for Objects was billed as concert-installation, ‘drawing from traditions of object theatre and puppetry’, combining ‘live and electroacoustic music, architectural design, and theatre’.
3 Serialism, Aleatoric music, ‘New Simplicity’, complexity, dealing with live electronics and live image transformation.
4 Guston, Philip, “ Faith, Hope and Impossibility ”, in Philip Guston Retrospective (London: Thames Hudson), 2003, p. 95 Google Scholar.
5 Later during the Ferienkurse, people were labelled with a GRID sticker/symbol. One might wonder how a gay man would feel being labelled ‘GRID’, given its earlier usage in the 1980s.
6 A number of artists responded to the archive, resulting in four sound and video installations, discussion panels like the GRID talk, and even a CD of six archival recordings remixed by artists.
7 Iddon, Martin, New Music at Darmstadt: Nono, Stockhausen, Cage, and Boulez (Cambridge: Cambridge University Press, 2013)CrossRefGoogle Scholar.
8 Barrett, G. Douglas, ‘The Silent Network – The Music of Wandelweiser’, Contemporary Music Review 30 (2011), pp. 449–70CrossRefGoogle Scholar.
9 Walshe's statement on ‘The New Discipline’, MusikTexte 149, May 2016, pp.3–5, is a personal observation on the work of a number of composers which all ‘share the common concern of being rooted in the physical, theatrical and visual, as well as musical’.
10 Woolf, Virgina, A Room of One's Own (London: Hogarth, 1938)Google Scholar.
11 Programme Note, Clarinet Extended, 5 August 2016.
12 www.internationales-musikinstitut.de/en/program2016/321-05-08-2016/1838-extended-clarinet-en.html (accessed 13 September 2016).
13 Advice attached to concerts with restricted capacity, listed in the daily IMD email. There were roughly 450 participants and 200 invited guests at the courses this year.
14 Admittedly mostly composers.
15 Hagen's was billed as a ‘live-installation and lecture for small ensemble, electronics and visuals’, and was split across five spaces of the Justus-Liebig-Haus.
16 IMD, Summer Course, What Are You Doing Here? https://soundcloud.com/imd-summer-course/what-are-you-doing-here-monday-8th-august-2016?in=imd-summer-course/sets/what-are-you-doing-here (8 August show; accessed 14 September 2016).
17 If you compose for the piano today, you have to ask yourself what is your relationship with the nineteenth century. In both the Pisaro and the Prins the piano is transformed into a sound producing device: a sound producing device that just happens to be a piano. We can see it is a piano, we can hear it is a piano but one composer ignores the nineteenth century completely, while the other successfully leaps over it with the help of technology.
18 Sarkissjan wants a new piece and Saunders wants to write for him.
19 Quotation from the film Paris is Burning (1990).
20 Run by Jennifer Walshe and David Helbich, IMD Programme.
21 Jennie Livingston's 1990 documentary film which chronicles drag ball culture in New York in the late 1980s.
22 IMD, Summer Course, What Are You Doing Here? (12 August show).
23 IMD, Summer Course, What Are You Doing Here?
24 www.youtube.com/watch?v=T-kEs_RIiiE (accessed 13 September 2016).
25 IMD 2016, Programme book. I met her briefly after a concert at the hotel bar during the first week.
26 IMD, Summer Course, What Are You Doing Here? (11 August show).
27 Attributed to Roger Bacon, Francis Bacon, and also Aristotle.
28 Feedback given to Carmen Carrera by Michelle Visage in season three of RuPaul's Drag Race.
29 See Claudia Goldin and Cecilia Rouse, ‘Orchestrating Impartiality: The Impact of “Blind” Auditions on Female Musicians’, National Bureau of Economic Research, NBER Working Paper No. 5903. www.nber.org/papers/w5903.
30 To a non-statistician the numerical investigation is staggeringly complex.
31 With more equality.
32 Another topic at the ‘holiday’ courses this year.
33 When people are choreographed to walk in a curve backwards we call it one thing: art. When somebody has to sit outside a toilet for eight hours a day we call it something else: life.
34 To listen to somebody takes time, but sometimes we don't know who we need to listen to, until we have listened to them.
35 Halbich, David, BELGIAN SOLUTIONS (Antwerp: Luster, 2015)Google Scholar.
36 What was newsworthy this year at Darmstadt will no doubt be mentioned elsewhere.