There Is No Repetition. Mathias Spahlinger at 70 (Chicago 3.2015), Program Book PDF

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mathias
spahlinger
at seventy
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NTHFREE
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SNOREPANDETITIONTHE
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THEREISFRIDAY,
NOREPETITMARCH
IONTHERE6ISNOREPETITIONTHEREISNOREPETITIONTHEREISNOR
DEPAUL UNIVERSITY CONCERT HALL :: 8PM
800 W BELDEN AVE.
NOREPETI TIONTHE
ENSEMBLE 20+REISNOREPETITIONTHEREISNOREPETITIONTHEREISNOREPETITION
Owen Davis, MEAT SPEAK (2015)*
Erin Gee, Mouthpiece: Segment of the 4th Letter (2007)
Mathias Spahlinger, furioso (1991)
SNOREPETITIONTHEREISNOREPETITIONTHEREISNOREPETITIONTHEREISNOREPETITIO
*World Premiere
THEREISSUNDAY,
NOREPETITIO NTHEREIS
MARCH 8NOREPETITIONTHEREISNOREPETITIONTHEREISNOR
CONSTELLATION :: 8:30PM
3111 N WESTERN AVE.
THEREISNO REPETITIONTHEREISNOREPETITIONTHEREISNOREPETITIONTHEREISNOR
NOREPETI TIONWYCHE
MOCREP
DANIEL THEREISNOREPETITIONTHEREISNOREPETITIONTHEREISNOREPETITION
Martin Schttler, Dieter Sanchez (2012)*
Mathias Spahlinger, phmre (1977)
Martin Schttler, Gier (2008)*
Jennifer Walshe, Hygiene (2010)*
Daniel Wyche, Untitled: Williams Song (2015)**
*American Premiere
**World Premiere
ONTHEREISNOREPETITIONTHEREISNOREPETITIONTHEREISNOREPETITIONTHEREISNO
REISNOREPETITIONTHEREISNOREPETITIONTHEREISNOREPETITIONTHEREISNOREPET
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ONTHERE ISNOREPETITIO
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MARCH NOREPETI
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SATURDAY, NOREPETI14 TIONTHEREISN
DEPAUL UNIVERSITY CONCERT HALL :: 8PM LOGAN CENTER FOR THE ARTS :: 8PM
800 W BELDEN AVE. UNIVERSITY OF CHICAGO
ONTHERE ISNOREPETITIONTHEREISNOREPETITIONTHEREISNOREPETITIONTHEREISNPERFORMANCE HALL, 915 EAST 60TH ST.
REISNOREPET
AND THEIT IONTHCHAMBER
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THE DEPAUL SYMPHONY ORCHESTRA
ISNO
ENSEMBLE DAL REPETI
NIENTE TIONTHEREISNOREPET
DEPAUL ORCHESTRA
Mathias Spahlinger, morendo (1975)* Mathias Spahlinger, verlorener weg, version 1 (2000)*
Jean Sibelius, Tapiola, Op. 112 (1926) Mathias Spahlinger, msica impura (1983)
Mathias Spahlinger, doppelt bejaht (2009)* Guillaume Dufay, chansons
TIONTHEREISNOREPETITIONTHEREISNOREPETITIONTHEREISNOREPETITIONTHEREISN
Mathias Spahlinger, adieu mamour,
hommage guillaume dufay (1983)
HEREISNOREPETITIONTHEREISNOREPETITIONTHEREISNOREPETITIONTHEREISNORE
*American Premiere
Mathias Spahlinger, verlorener weg, version 2 (2000)*
REPETITIONTHEREISNOREPETITIONTHEREISNOREPETITIONTHEREISNOREPETITIONTH *American Premiere
ONTHERE ISNOREPMARCH
FRIDAY, ETITIONTHE REISNOREPETITIONTHEREISNOREPETITIONTHEREISN
13
THE GRAHAM FOUNDATION :: 8PM
REPETITIONTHEREISNOREPETITIONTHEREISSUNDAY,
MADLENER HOUSE, 4 WEST BURTON PLACE
NOREPETITIO NTHEREI15
MARCH SNOREPETITIONTH
ONTHERE ISNOMOBILE
REPETITIONTHEREISNOREPETITIONTHEREISNOREPETITIONTHEREISN
REISNOREPET
ILLINOISITIONTHENSEMBLE
EREISNOREPETITIONTHEREISNOREPETITIONTHEREISNOREPET
SUONO BOND CHAPEL, UNIVERSITY OF CHICAGO :: 3PM
1025 E. 58TH ST.
MODERN
REPETITIONTHEREISNOREPETITIONTHEREISCO-PRESENTEDNOREPETITBYIOTHENTHERE ISNOREPETITIONTH
ONTHEREISNOREPETITIONTHEREISNOREPETI TIONTHEREISNOREPETITIONTHEREISN
Mathias Spahlinger, aussageverweigerung/gegendarstellung
RENAISSANCE SOCIETY
REISNOREPETITIONTHEREISNOREPETITIONTHER EISNO
XELMYA
(1981), two contra-contexts for double-quartet
REPETI TMODNEY
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REPETITIONTHEREISNOREPETITIONTHEREISWET NOINKREPETI TIONTHEREISNOREPETITIONTH
CHRISTOPH BRUNNER
Mathias Spahlinger, fnf stcke fr zwei klaviere (1969)
ERIC WUBBELS AND JOSH OF THE
Philipp Blume, in nuce (2003, revised 2009)
ENSEMBLE
Mathias Spahlinger, furioso (199091)
SNOREPETITIONTHEREISNOREPETITIONTHEREISNOREPETITIONTHEREISNOREPETITIO Mathias Spahlinger, rundweg (2010)*
REPETITIO NTHEREISNOMARCH REPETITION THEREISNOREPETITIONTHEREISNOREPETITIONTH

Mathias Spahlinger, ausnahmslos ausnahmen (2014)**
Mathias Spahlinger, extension (197980)
SATURDAY, 14
LOGAN CENTER FOR THE ARTS :: 9AM5PM *American Premiere
UNIVERSITY OF CHICAGO **World Premiere
PERFORMANCE PENTHOUSE
915 EAST 60TH ST.
REISNOREPET ITIONTHERE
THER ISEISNO REPETITIONTHEREISNOREPETITIONTHEREISNOREPET
SYMPOSIUM: NO REPETITION
A symposium on Spahlingers work and thought, with a
keynote address by Anne C. Shreer (Harvard University),
talks by Seth Brodsky (University of Chicago), Brian Kane there is no repetition:
(Yale University), and Simon Obert (Paul Sacher Foundation),
and a performance panel led by composer Philipp Blume
Mathias Spahlinger
at 70 is produced
and Spahlinger himself, featuring the Spektral Quartet in a in collaboration with
performance and analysis of apo do (from here) (1982). Goethe-Institut Chicago.
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please, no hymns or
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devotional songs,
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and no professions
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:::::::::::::::::::::::::::::::::::::::::::::::::::::;:::::::::::;;::
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of faith
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ABOUT THE FESTIVAL
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Chicago celebrates German composer Mathias Spahlingers
:::::::::::::::::::::::::::::::::::::::::::::::::::::::::::::::::::::
:::::::::::::::::::::::::::::::::::::::::::::::::::::::::::::::::::::
70th year with a 10-day residency and retrospective of his
:::::::::::::::::::::::::::::::::::::::::::::::::::::::::::::::::::::
music and thought. The first of its kind in the States, the fes-
:::::::::::::::::::::::::::::::::::::::::::::::::::::::::::::::::::::
::::,::::::::::,,,:,:::,:,::::::::::::,:,::::::::::::::::::::::::::::
tival presents six concerts and a symposium, all free and open
:::::::::::::::,,,:::::,,::::::::::::,,,:,:::::::::::::::::::::::::::
MATHIAS
. to the public, and brings together renowned musicians and
,::::::,,::::,,,,,,,,,,:,,,,,,:,,,:,,:,:,,,,,::::::::::::::::::::::::
,::::::,,:::,,,,,,,,,,,:,,,,:,,,,,,,,,,,,,,,,,,,:::::::::::::::::::::
scholars from Chicago, New York, Berlin, Zrich, and Basel.
SPAHLINGER,
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It spans Spahlingers career from the late 1960s through the
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THIS
. IS THE
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present day, and features the world-premiere of a substantial
,,,,,,,,,,,,,,,,,,,,,,,,,,,,,,,,,,,,,,,,,,,,,,,,,,,,:::::::::::::::::
TIME OF new work for drumkit, ausnahmslos ausnahmen (2014), and
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,,,,,,,,,,,,,,,,,,,,,,,,,,,,,,,,,,,,,,,,,,,,,,,,,,,:::,,,,:::::::::::
the North American premieres of the trio rundweg, the large
CONCEPTIVE
,,,,,,,,,,,,,,,,,,,,,,,,,,,,,,,,,,,,,,,,,,,,,,,,,,,::,,:,,:,,::::::::
ensemble works verlorener weg I and II (2000), and the bold
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IDEOLOGUES
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open-form orchestral installation doppelt bejaht (2009). Staple
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NO LONGER members and venues of Chicagos music and art scene take
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:,,,,,,,,,,,,,,,,,,,,,,,,,,,,,,,,,,,,,,,,,,,,,,,,,,,,,,,,,,,,,,,,,:::
pride of place, and events range all over the city. Spahlingers
,,,,,,,,,,,,,,,,,,,,,,,,,,,,,,,,,,,,,,,,,,,,,,,,,,,,,,,,,,,,,,,,,,,,,
extended stay will aord him the opportunity to work closely
,,,,:,,.,,,,,,,,,,,,,,,,,,,,,,,,,,,,,,,,,,,,,,,,,,,,,,,,,,,,,,,,,,,,,
::::,,..,,,,,,,,,,,,,,,,,,,,,,,,,,,,,,,,,,,,,,,,,,,,,,,,,,,,,,,,,,,,,
with performers, composers, and scholars at numerous in-
::,,,,,,,,.,,,,.,,..,,,.,,.,,,,,,,,,,,,,,,,,,,,,,,,,,,,,,,,,,,,,,,,,,
stitutions, coaching rehearsals, leading seminars, and talking
:::,,,,,,,,,,,,,,,,,,,,,,,,,,,,,,,,,,,,,,,,,,,,,,,,,,,,,,,,,,,,,,,,,,
:;::,,,,,,,,,,,,,,,,,,,,,,,,,,,,,,,,,,,,,,,,,,,,,,,,,,,,,,,,,,,,,,,,,
about his work.
,:::,,,,,,,,,,,,,,,,,,,,,,,,,,,,,,,,,,,,,.,,,.,,,,,,,,,,,,,,,,,,,,,,`
::::,,,,,,,,,,,,,,,,,,,,,,,,,,,,,,,,,,,,,,,,,,,,,,,,,,,,,,,,,,,,,,.``
::,,,,,,,,,,,,,,,,,,,,,,,,,,,,,,,,,,,,,,,,,,,,,,,,,,,,,,,,,,,,,,,.``
;:,,,,,,,,,,,,,,,,,,,,,,,,,,,,,,,,,,,,,,,,,,,,,,,,,,,,,,,,,,,,,,.````
there is no repetition: Mathias Spahlinger at 70 is produced in close collaboration with Goethe-Institut Chicago, and is also made possible
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through the generous support of the Embassy of Switzerland, the German Consulate General Chicago, the Graham Foundation, the DePaul Uni-
..
:::,,::,,,,,,,,,,,,,,,,,,,,,,,::,,,,,,,,,,,,,,,,,,,,,,,,,,,,,,,.`
versity School of Music, the University of Illinois School of Music, and, at the University of Chicago, the Renaissance Society, the Department of
:`.
::,:::;,,,::,,,,,,,,,,,,,,,,,:;,,,,,,,,,,,,,,,,,,,,,,,,,,,,,,..,:;`.
Music, the Oce of the Deputy Provost for the Arts, the Franke Institute for the Humanities, and the Reva and David Logan Center for the Arts.
:,,;;:::;::,,,,,,,,,,,,,,,,,;#;,,,,,,,,,,,,,,,,,,,,,,,,,,,,,,`:;:,..
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:::::::::::::,.,.`.......,,,::,. ` `:.```.;`` ABOUT SPAHLINGER
```,:.`+` ` ``````...`,.:,:+++
````.,`,;``.;;,+++
:::::::::::::::,,,`..,..,,,,,,. .`.:`.``.``+;`` ``+`..,+++:++
:::::::::::::::::,,....,,,,,.. ``````.:`.```:
Mathias Spahlinger ` `;++;`:+`,++#+++++
was born in Frankfurt in 1944. His father
:::::::::::::::::::,``,,,,,.. ` ``.,.,,, .,; ```:++`;++,`:++###+++
was a cellist. From 1951, he received lessons from his father in
::::::::::::::::::::`,,,:,..:+#############+`.```;:`:++``.+####+#+
:::::::::::::::::::`.,,,,.;#+########++###++,,,```,;`;+#+```+#+#####
fiddle, viola, recorder and later, violoncello. He began piano
::::::::::::::::::.,,,,:+##@@#:,:++++++,;:. `.::;++++:`;+#+##+##
lessons in 1952. From 1959 Spahlinger developed an intense
:::::::::::::::::,..,:+#@###+:`````;+++.`:;.```:;++++,`,++#####
:::::::::::::::::..:+#######``.````..,.;
interest in jazz, took saxophone classes and``.`;++++ :`,+######
wanted to be a jazz
:::::::::::::::,..:+#++++++++`..++.,,``. ;:`` ,:+++++,```+######
musician. In 1962 he left school and began an apprenticeship as
:::::::::::::::..:.;++++++`,`:::`.;;.`,,;```.:++++#`:``+######
::::::::::::::`..,.;;;+++;.,``..,,;:#`,::`:
a typesetter. During the apprenticeship `.:+++#+;.`,+######
he took private classes
::::::::::::,... .`:++#+;.###..:,
in composition with
``.:.:;``.;+++##+.;;`:++#####
Konrad Lechner. After completing his
::::::::::,:`..```.++++####,##`,,```.;;.:``.++##+,:`+######
:::::::::::..``..,.++++++++;++#+;`:;````,;;;`.``,+++#++;`.+######
apprenticeship he continued his studies with Lechner at the
,,:,:::::,,.``.`:+#########++#`.;:```.,;;;`.``:+++#+`:++######
Stdtischen Akademie fr Tonkunst (State Academy of Music)
,,::::::,,. ,+####@@@@@####++#+;`:;,```.,;;;,```+++++;`++######
::::::::,,:+###########+##+++#+,.;,```..,;;;:```++++`.+++######
in Darmstadt (piano classes with Werner Hoppstock). In 1968
::::::::.###############+++##+`,.,````.;;;;``.+++++;`;+++######
he took up a teaching position at the Stuttgart Musikschule
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,,,,,,.`++###+########+++++##+..,````
(Music School), teaching`:```:`;+++++;`:##########
piano, theory, musical education for
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children and experimental music. From 19731977 he studied
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,,,,.,,+#+++#####+#+##++++##+`.`.` `` `:.; .;;`;+++;
composition with Erhard Karkoschka ,++#+++######
at Stuttgarts Staatliche
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Hochschule````
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fr Musik und Darstellende Kunst (State Acade-
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my of Music and Performing Arts.) In 1978 he became guest
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lecturer in music theory at the Hochschule der Knste (Arts
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University) in Berlin, and in 1984 professor for composition
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music theory at the Staatliche Hochschule fr Musik (State
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....`+########++++```;#. Academy
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of Music) in Karlsruhe. From``.++#+++,,+######
1990 to 2009 he held
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the position of professor of composition.;++++++,,:++######
and head of the in-
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stitute for new music at the Staatliche Hochschule fr Musik
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(State Academy of Music) in Freiburg. He currently lives in
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Potsdam near Berlin.
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how it is tive one, for the subject does not stand before the
object alone; rather, its consciousness is already a
product of society. this means, however, that when
the individual subject apprehends objects, it first
MATHIAS SPAHLINGER IN CONVERSATION must apprehend its own self. the higher the degree
WITH BERND KNZIG (2010) [EXCERPTS] of sophistication in societal communication, the
more readily one can speak of the possibility of
self-recognition
i see the development of new music in a very par- in those times when a composer attained the high-
ticular context. i am convinced that the material est level of his craft, composed conceptually, or even
development of new music is characterized by a composed conceptually epoch-making works, then
higher degree of self-reflection than we find in this was only possible on the foundation of craft. but
older works of art. i am not convinced that we are to invent something that is conceptual through and
anywhere close to discovering everything that new through, such as [hans] wthrichs communication
music could achieve, but rather that we are on a path
of becoming conscious of communicative structures
that underlie the works of artwe tend to think that
musical structures have an intrinsic meaning, even
independently of whether they are heard by people
or not, while the meaning that music possesses is
more visible and comprehensible in new music;
here, the meaning that becomes apparent is that
people are coming together and making musica
characteristic that sets new music apart from tra-
ditional is that the relation between the parts and
the whole has undergone a substantial upheaval.
the parts in traditional music gravitate toward the
whole; moreover, toward a very particular notion
of the whole, regulated by harmony and equally games or even gyrgy ligetis pome symphonique
particular conceptions of metrically bound rhythmic (1962) for 100 metronomes, i dont need to know
patterns, through expressive tropes, and so on how to resolve dissonances correctly, for i can re-
[meanwhile,] the musical material of new music has solve them in any arbitrary direction, or not at all.
no recognizable formal implications. in the extreme this illustrates the strong convergence between the
case, so long as the materials of new music are not expanded conception of material in new music and
exploited to simply imitate certain qualities of the the societal conditions, which really dont call for
traditionalwhich in my opinion is simply not division of labor anymore; we need only possess the
possible with this material to begin witha piece artistic awareness, and then we are perforce also
of radical new music can begin somewhere and no musicians, even without any craft
one will be able to predict whither it is headed as i listen i project myself into the others con-
it is well known at least since hegel that the sciousness, i listen communicatively through em-
traditional subject-object relationship comes up pathy with the other listener. thus do I come to
short. hegel already recognized that the subjective experience the world intersubjectively. were the
subject-object relationship diers from the objec- characteristics of new music taken in as a radical
way as they need to be, then it would mean that the only come to a halt arbitrarily or through outside
societal perspective on awareness rests on intersub- influence, that gives no internal sign of being seg-
jectivity and on the dierences between subjects. it mented, or the developing variation, which is just
means that if we were not diering consciousness- as procedural and has no real qualitative beginning
es, then we also wouldnt need to communicate with or end. with that, the radical manifestations of new
one another, and indeed we couldnt if we wanted music replace the concept of a unifying idea with
to. the various consciousnesses, which permit no that of the dis-unifying idea
reconciliation and are also tangential to language, what earlier composers only achieved once in a
are prerequisites for the possibility of language generation, namely that they invented a concep-
exemplary for that which comes into its own in tually new sort of music, which led to a change in
new music are such procedures that give no clue to paradigm and a break with musical historythat
their total duration or to an overall form. the end- must be achieved today by every composer, in every
less loop which spins about itself like a wheel, and work-
SPAHLINGER ALS FRAU

BY SETH BRODSKY
Spahlinger as Woman. How do I mean this? How should is the isolated musical instant, riven from its own self: this
you take this? How should he take this? Am I being cheeky, or shall no longer be this, now no longer now. It spreads out to
just thick? This festival is not, after all, full of women. They are precursors and genres. Reaching further, it deigns to shake
sorely underrepresented here, as are people of color. Failure history, conceived as the endless repetition of itself, to the
is one of the festivals intended themes: the failure to repeat, ground. Even nature is not left standing.
and to avoid repetition; the failure of representation, and of The title Spahlinger als Frau first came to me with a specific
abstraction. But the failure to represent women adequately woman in mind: die Frau (no other name) in Arnold Schoen-
was not intended. It happened, as it often does, unconscious- bergs unhinged 1909 monodrama Erwartung, Expectation.
lyas an unintended repetition. In this case, of structural Erwartung is one of the great documents of the musical ban
forces already in place. Anyone involved in the worlds of New on repetition. It follows only the law of anacoluthon, of do-
Music knows that men far outnumber women, especially as not-follow. In 30 minutes, no moment ever repeats; the score
composers; that mens voices are often louder, shriller, more tears apart its heirlooms from Wagner, Mahler, Strauss, even
megaphoned and subsidized; that it follows logically that Schoenbergs own student Webern. Opera, tonality, theme,
New Music cannot but represent more the concerns of men. form: so many of western musics Big Others are made to
Especially a certain kind of New Music. topple. Here is precedent without law: what Spahlinger, cit-
What kind? Well, you know. Its often trailed by adjectives ing Hegel, might call the fury of disappearing. Spahlingers
like abstract, atonal, ametric, negative, modernist, music, which sounds nothing like Erwartung, is still its kin.
avant-garde, and yes, sometimes even German. A music that A child of the musical negative act, its motto could be J.-K.
seems to block out all the other music, the older music, the Huysmanss rebours: against the grain, against nature. A
music that represents. Not just things but peoplethe sound music which turns its back on the available.
of hers, his, theirs, the sound of sounds like. Spahlingers But people forget that two women made Erwartung too.
music doesnt sound like most music, with one notable excep- The first is real: the librettist Marie Pappenheim, a recent
tion: it can, heard reductively, sound like that kind of music graduate of the University of Vienna medical school and cousin
that tries ceaselessly to not-sound-like all other kinds of music. of Bertha Pappenheim, aka Anna O, psychoanalysiss patient
A slightly less reductive way to put this: Spahlingers music zero. Her libretto is ruinous and stunning, more triple-dotted
belongs to a traditionhe calls it simply New Musicwhich than anything before Becketts most shattered monologues.
issues a ban on repetition. The ban is seismic. Its epicenter Marie Pappenheim also became one of the centurys more
extraordinary Viennese feminists: social activist, political becomes a non-universalizable set: there is no typical woman,
radical, crusader for sexual freedom. Read her libretto closely, against whom one does or doesnt measure up. There are only
and the long tradition of hearing Erwartung as the endless individual women, who each enter into beingIn here? But
expressionist moan of a fin-de-sicle hysteric falls apart. you cant see the wayone by one. Here is another way of
Instead, one hears a person learning, painfully, to lose, lack, understanding the ban on repetition: a ban on the universal
and search. The first wordsIn here? But you cant see the set, the ceaseless remaking of the not-all.
waylead directly to the last: I was searching Erwartung is an old piece. I doubt Spahlinger thinks about
This is the second woman who made Erwartung: a fiction, it terribly often. But Id argue that its two women are his po-
but also far more than a muse. Die Frau is no Laura, no Be- etic precedents. Far more than its man, who in the decades
atrice. She is, arguably, the proper cause of the most radically after Erwartung would shore up his fragments, systematize
non-repetitive western music written up to that point. She is and universalize his ban on repetition, and become, well,
authorizer and obstacle at once: the agent generating a music such a guy. The shadow of the masculine total set hangs
incapable of ending, ready to begin anywhere, constitutively over musical modernism, its utopian longing and desire for
negative, but open to potentially anything. The eternal fem- abstraction often teetering into chromophobia, or a fear and
inine draws us upwards, goes the line at the end of Goethes hatred of sex. Spahlinger represents an alternate case. His
Faust, Pt. II. This Frau works on dierent vectors: not eternal, belief in New Musics utter unsuitability as a vehicle for
but unceasing; not upwards, but onwards. No more heaven, representation is counterbalanced by his politics: everyone
but also no skys-the-limit; no goal, but no rest. She becomes should be involved. And by his skepticism that there is such
a logic of nothing that escapes the universal and remains on a thing as New Music. It is not a total set. There is no New
the side of incompleteness. This is how psychoanalyst Jacques Music. New Music would be that set of ideas and practices
Lacan, borrowing from Simone de Beauvoir, conceived the thatrepeatedly!put this truth on stage, make it an issue,
feminine: the not-all, a kind of being that refuses to comple- and invite us all (us not-all) to wander in, one by one, and go
ment or complete anythingnot man, not sexuality, not searching. This festival is an invitation. It is also a staging, of
even nothing. If man continues to designate a universe of our falling-short and of the distance we have to go. -
mastery and submission, inclusion and exclusion, woman
ITS NOT ALL REPETITION

BY PHILIPP BLUME
My first encounter with Mathias Spahlingers music came at bly obscure Swiss visionary Hans Wthrich (b. 1937), whose
the start of my student days in Freiburg. Nave and oblivious own motley, unwieldy, brilliant catalog of ideas and musical
as I was to such lofty issues as historical context, I never won- works still awaits its due appreciation. From this point of
dered whither Spahlingers music cameit was all just so new; view it bemuses me when Spahlinger gets glibly situated in
I immediately assumed it to have grown spontaneously, from the (admittedly formidable) sphere of Helmut Lachenmann
nothing. A similar impression may well befall any other listen- or Karlheinz Stockhausen. The roots of his music are much
er unfamiliar with the alien landscape of Spahlingers work, more fibrous; they reach into dark, inscrutable zones, without
and I now think this has to do withamong other things, of concordances, and then send out adventitious shoots that pop
coursethe highly idiosyncratic constellation of predecessors up all over the map. The individual resulting works are no more
that he might claim for his work. Spahlingers own principal interested in unification, in reification, in consolidationthan
mentor, Erhard Karkoschka (19232009), is mostly known for are the sounds which inhabit them.
a wonderful book on innovative music notation, but he also A single composition is, in this very specific sense and in
amassed a large set of pedagogical exercises that Spahlinger no other, really just a bunch of sounds. Or its just one sound.
subsequently adopted and expanded, which in turn found their This distinction between one and many can only be over-
way, in more (and sometimes intentionally less) sophisticated come when one realizes that sound objects are not objects
form, into his own compositions. Furthermore, Spahlingers at all. If there is one thought that unifies all of Spahlingers
recent open-form installation piece doppelt bejaht (2009), concerns, it is this one. A sound does not become a thing
for orchestra without conductor, is dedicated to the lamenta- just because it is committed to paper. Spahlingers sound[s]
REPETITIONTHEREISNOREPET
THEREISNOREPETITIONTHERE
is/are continually undermining itself/themselves, fed by an REPETITIONTHEREISNOREPET
awareness that sounds do indeed become objects in the mind THEREISNOREPETITIONTHERE
of the listener, and that this transformation means they give
up most of their vitality. Their mission is to counteract this
tendency, and since the counter-act is itself an act, the strat-
egies of counteraction must also constantly change. REPETITIONTHEREISNOREPET
Spahlingers music obeys this imperative on every level. THEREISNOREPETITIONTHERE
Each work traverses a unique possibility space, and ends in REPETITIONTHEREISNOREPET
a dierent place than it began. Here, furioso (1991), for large THEREISNOREPETITIONTHERE
ensemble, is the most exemplary manifestation. At the start,
only the strings are active; in the end, only the woodwind and
brass are left. Each moment in the work represents a contrast
to, if not repudiation of, the previous. But in the context of the REPETITIONTHEREISNOREPET
entire oeuvre, each works space of possibility also overrides THEREISNOREPETITIONTHERE
the previous: in our case, the abrupt cross-cutting behaviors REPETITIONTHEREISNOREPET
of furioso arrive on the heels of the monumental passage/ THEREISNOREPETITIONTHERE
paysage (1990) for orchestra, where, conversely, each moment
is part of a transition from here to there, one whose specific
from and to and whose rate of speedits metabolism, per- THEREISNOREPETITIONTHERE
hapsconstitute the parameters of listening. REPETITIONTHEREISNOREPET
Time and again, in his works and in his writings, Spah- THEREISNOREPETITIONTHERE
linger invokes the topic of repetition. Most obviously, this REPETITIONTHEREISNOREPET
is done through, well, repetitive material, such as the rim THEREISNOREPETITIONTHERE
shots in phmre (1977), for piano, percussion, and instru-
ments veritables; the microtonal hyperventilating at the end
of nah, getrennt (1992), for solo recorder; or the unrelenting THEREISNOREPETITIONTHERE
pulsations of verfluchung (198385) for three vocalists with REPETITIONTHEREISNOREPET
wooden percussion. But the emphasis is not on repetition as THEREISNOREPETITIONTHERE
a commentary on contemporary society, not as a metaphor REPETITIONTHEREISNOREPET
for the human condition, as an evocation of city lifebut as THEREISNOREPETITIONTHERE
a way of pointing out the impossibility of repetition.
Sounds are not a priori objects: it is only when we attach
them to ideas, concepts, etc. that they permit the sensation THEREISNOREPETITIONTHERE
of repetitionbut again, this moment is not in the ambit of REPETITIONTHEREISNOREPET
the sound, whose only objective, after all, is to sound, but in THEREISNOREPETITIONTHERE
that of the beholder. REPETITIONTHEREISNOREPET
In adieu mamour (1982), for violin and cello in scordatura,
Dufays chanson of the same name becomes an object whose
nostalgic value, its objecthood, is shown to be irretrievable,
i.e., unrepeatable. Works like apo do (1983) for string quartet THEREISNOREPETITIONTHERE
and intermezzo (1986) for piano and orchestra each point REPETITIONTHEREISNOREPET
to this evanescence in their own oblique fashion. Clearly, THEREISNOREPETITIONTHERE
the point about repetition is subordinate to a much broader REPETITIONTHEREISNOREPET
point about reification.
Music gets in the way of listening, or it facilitates listening.
Throughout his career, up to the present day and into the
foreseeable future, Mathias Spahlinger has sought to sharpen THEREISNOREPETITIONTHERE
the line of demarcation between these possibilities, and to REPETITIONTHEREISNOREPET
seek an unfettered freedom on the other side. - THEREISNOREPETITIONTHERE
CONCERT 1 ERIN GEE, MOUTHPIECE: SEGMENT OF
FRIDAY, MARCH 6 THE 4TH LETTER (2007)
for 5 instruments
DEPAUL UNIVERSITY CONCERT HALL Ensemble 20+
Michael Lewanski, conductor
My paintings have neither objects nor space nor time nor

OWEN DAVIS, MEAT SPEAK (2015) anythingno forms. They are light, lightness, and merging,
for bass clarinet and 14 instruments about formlessness, breaking down form.
Ensemble 20+
Michael Lewanski, Conductor (Agnes Martin)
When we study the science of breath, the first thing / we
In 1967, the American Beat poet Michael McClure pub- notice is that breath is audible.
lished the Ghost Tantras, a collection of 99 poems that (Hazrat Inayat Kahn)
often abandon language and syntax all together and replace In the Mouthpieces, the voice is used as an instrument of
it with strung together onomatopoeic words that provoke sound production rather than as a vehicle of identity. Lin-
a certain physical or psychological response when read guistic meaning is not the voices goal.
and more importantly, when listened to.This collection of The construction of the vocal text is often based on
poems exemplifies his investigation into, and creation of, linguistic structurevowel-consonant formation and the
a beast languagean attempt to transcend the human principle of the allophoneand is relatively quiet, with a
language that, to McClure, is insucient at communicat- high percentage of breath.
ing anything powerful and worthwhile. Musicorganized The Mouthpieces began as solo vocal works, devoid of
sound, being innately detached from any practical com- semantic text or language and notated with the Interna-
municative ability of human languagehas similar goals. tional Phonetic Alphabet. In the Mouthpiece series, the
Focusing much more on what the sound itself, its essence, voice is used as an instrument of sound production rather
communicates directly to a listener more than any narra- than as a vehicle of identity. Linguistic meaning is not the
tive abstraction, for me is at the center of this work how it voices goal.
is organized. In Mouthpiece: Segment of the 4th Letter the voice is ab-
The title, MEAT SPEAK, alludes to this beast language sent. The ensemble takes on the articulatory possibilities of
that McClure was creating. MEAT; raw, powerful, blood- the mouth, and the percussive, pitched and noisy elements
filled, animalistic, visceral, SPEAK; scream, project, com- are mapped on the instruments, as they mirror the proper-
municate, disseminate. ties of the vocal sounds.
I chose the bass clarinet, an instrument that seemed to
exemplify these qualities and has the ability to emit sounds
that have the power to communicate them. In this work
the multiphonics of the instrument are taken as primary
MATHIAS SPAHLINGER, FURIOSO (199091)
material in terms of pitch, quality (timbre), and propor- for 13 instruments
tions (structure).It is through this process of extrapolating Ensemble 20+
material from a single source that I attempt to unify the Michael Lewanski, conductor
ensemble as one expressive organism and bring focus on to
the sound itself by amplifying, projecting, and synthesizing First Citizen: Our wives and children are crying for bread,
its inherent qualities throughout the work. and were going to feed them with the flesh of the aristo-
crats. Death to anyone with no hole in his coat!
All: Death, death!
I am waiting for a thunderormand for First Citizen: What is the law?
repetition. And yet I would be happy and Robespierre: The will of the people.
indescribably blessed if the thunderorm First Citizen: Well, were the people. And our will is that
there shouldnt be any law. Ergo, our will is the law, ergo,
would only come, even if my sentence were
in the name of the law there is no law. Ergo, death!
that no repetition is possible. (Georg Buchner, Dantons Death)
(Sren Kierkegaard, Repetition)
Universal freedom can thus produce neither a positive tions, new versions, repetitions, or variations of the same
work nor a positive deed, and there remains for it only material, without ever undergoing any development. Yet
the negative act. It is solely the fury of disappearing. the energetic process remains permanently insatiable, every
(Hegel, The Phenomenology of Spirit) attempt is aborted, calls for a new attempt, etc.
The live electronics play a decisive role in this duplica-
the ensemble is conceived as open, as in flux, the musicians
tion. Single excerpts of the piece are recorded and played
and instrumental tones as coming and going. ideally, if the
back unchanged. The music encounters its own past, forms
procedure wouldnt be too obtrusive and apt to distract
layers upon itself, suggesting an intensification. The latter,
from the music, the musicians, each at their own tempo
however, remains unarmed in any emphatic sense; a
could be drawn across the stage on podiums on wheels, so
target is never reached, a resolution never attained, the
that they would appear with the first note and disappear
increase in density does not equate with any kind of tran-
with the lastapart from the violoncello, which must be
scendence.
silently present and apart from the piccolo, which can be
Eventually, the music instead arrives at a second, shorter
heard in part iia, but which should also be visible in iib.
section, leading to a self-contained new music. Completely
the work is dedicated to cornelius schwehr.
removed from what came before, this piece devolves into
(Mathias Spahlinger)
a listlessness, the urgency of accumulation giving way to a
merciless stasis.
CONCERT 2
SUNDAY, MARCH 8 JENNIFER WALSHE, HYGIENE (2010)
for 10 performers and DVD
CONSTELLATION
Mocrep
Daniel Gottlob Moritz Schreber (October 15, 1808No-

MARTIN SCHTTLER, DIETER SANCHEZ (2012) vember 10, 1861) was a German physician and university
for guitar, cello, feedback system and live electronics teacher at University of Leipzig. In 1844, he became direc-
Mocrep tor of the Leipzig Sanatorium. His publications predomi-
nantly dealt with the subject of childrens health and social
Dieter Sanchez ist ein Projekt der Seamacs-Gastro GbR, consequences of urbanization at the dawn of the Industrial
Langenhorner Chaussee 174, 22415 Hamburg. Inhaber: Revolutionthey included Peculiarities of the childs or-
Ste Krimmler and Phillip Rhrl (printed in German at the ganism in health and illness (1839); The friend of the family
composers request) as an educator and leader to family happiness and human
refinement (1861) and Medical indoor gymnastics (1855).
Schreber advocated both his systematic remedial exer-
cises and countryside exercise for urban youth. During
his time, the term Volksgesundheit (peoples health) was
MATHIAS SPAHLINGER, PHMRE (1977)
for piano, percussion, and instruments veritables coined. Back then, it comprised the idea of a healthy relief
Mocrep of excessive energy. One of his sons, Daniel Paul Schreber,
Ryan Packard, guest percussionist wrote an autobiographical account of what is now assumed
to have been paranoid psychosis (a term not coined back
(See next page for notes on phmre) then), Memoirs of My Nervous Illness. The notes were later
analysed by Sigmund Freud on the theoretical basis of
psychoanalysis.
Inferno is an autobiographical novel by August Strind-
MARTIN SCHTTLER, GIER (2008) berg, written in French in 189697. The narrator (ostensibly
for cello, clarinet, piano, percussion, and electronics Strindberg, although his narrative variably coheres with
Mocrep and diverges from historical truth), spends most of the nov-
el in Paris, isolated from his wife, children, and friends. He
Gier is an essay about aggregation and stagnation. The mu- associates with a circle of Parisian artists and writers (in-
sic essentially never leaves its point of departure. Instead, cluding Paul Gauguin and Edvard Munch), but often fears
as the music progresses, it brings forth continual duplica- they are ridiculing and persecuting him. In his isolation,
Strindberg successfully attempts alchemical experiments, Strindberg believes himself guided by mysterious forces (at-
and has his work published in prominent journals. He fears, tributing them sometimes to God, Fate, or vaguer origins).
however, that his secrets will be stolen, and his persecution When returning to Sweden to see his daughter, Strindberg
mania worsens, believing that his enemies are attacking is introduced to German mythology and the teachings of
him with infernal machines. He also dabbles in the occult, Swedenborg, which both influence his fatalistic beliefs and
at one point casting a black magic spell on his own dis- delusions. Through this newfound imagery, Strindberg sees
tanced daughter. Throughout his studies and adventures, his life as a living hell, hence the novels title.
MATHIAS SPAHLINGER, PHMRE (1977)

for piano, percussion, and instruments veritables
Mocrep
Ryan Packard, guest percussionist
DANIEL WYCHE, UNTITLED: WILLIAMS SONG (2015)
for guitar, percussion, and electronics
Daniel Wyche, guitar and electronics
Ryan Packard, percussion and electronics
in one moment the image of a new world (hegel), but rath-
CONCERT 3 er, as a negative utopia, summons collapse: the individual
particulars, emancipated from the compulsion to be unam-
THURSDAY MARCH 12 biguous, now have lost, along with their one-dimensional
DEPAUL UNIVERSITY CONCERT HALL function, their pre-stabilized meaning, chains, and foot-
hold, disappear either into isolation or allow themselves to
be brought into an ever more free and intimate context
(hlderlin). (Mathias Spahlinger, trans. Nicholas Betson,
A heartfelt thanks to all those whose volunteered in the Ted Gordon, and Seth Brodsky)
translation and preparation of doppelt bejaht: Katherine
Baloff, Nicholas Betson, Owen Davis, Gregor Elsholz, Natalie
Ferree, Malcolm Herbert, Ria Hodgson, Evan Johnson, Irmi In reality as such, there is no repetition.
Maunu-Kocian, Simone Kaiser, Fabian Liesner, Michael Le-
wanski, Joe Michaels, Andrea Moore, Zach Moore, Melissa
This is not because everything is dierent,
Padgett, Irine Rsnes, Jeff Schweitzer, Anne C. Shreffler, not at all. If everything in the world were
Neil Toms Smith, Jude Stewart completely identical, in reality there would
be no repetition, because reality is only in
the momentIn ideality alone there is no
MATHIAS SPAHLINGER, MORENDO (1975) repetition, for the idea is and remains the
for orchestra same and as such cannot be repeated.
The DePaul Symphony Orchestra
and DePaul Chamber Orchestra (Sren Kierkegaard, Repetition)
Michael Lewanski, Conductor
the first of the two parts of morendo for orchestra can be

regarded as the depiction of an existing condition. i was not JEAN SIBELIUS, TAPIOLA, OP. 112 (1926)
as interested in an accurate illustration as i was in oering tone-poem for large orchestra
a piece of reality to consciousness as well as part of the The DePaul Symphony Orchestra
and DePaul Chamber Orchestra
reality of consciousness. not for some pedagogical reason,
but for the sake of a relatively autonomous beauty, which is
not removed from a socially meaningful context, but only On 8 May 1912, Jean Sibelius wrote in his diary:
through it, is thinkableas i see itas a kind of critique.
I intend to let the musical thoughts and their devel-
In the first part, each musician is shoe-horned into the
opment determine their own form in my soul.
machine-like functional routine of one of six orchestral
groups, and assigned a fragment of sound or noise, a little It would seem during those days and months that Sibelius
piece of clearly defined, thing-like material which is inces- was consumed by such thoughts. James Hepokoski writes
santly repeated. some of these repetitions are interlocking, of repeated diary entries from 1912 indicating that Sibeliuss
some are unrelated, simultaneously running beside each aim had become to rethink the concept of form by allow-
other in mechanical self-repetition. they are increasingly ing certain nature-mystical core ideas to ramify naturally
interrupted and disturbed by fortissimo blows, which seem or meditatively, as though they had a separate volition not
to relocate the listeners perceptual coordinates, in that the to be thwarted by the habits of traditional practice.
relations of volume and definition between the orchestral The works that would emerge in the coming yearses-
groups are broken up and transformed. pecially the last three symphonies (nos. 57)are nothing
but also the mechanical arrangement of the sounds if not a realization of this utopian dream: own form/my
themselves is assaulted, transformed, damaged, if not actu- soul. But its tempting to think of Sibeliuss last major
ally disabled entirely. work, the 1926 tone-poem Tapiola, as its most extreme
yet a small part of the construction unravels itself from case. After its completion, Sibelius would live another three
its previous world towards another whose faltering is only decades, and write virtually nothing else. While he worked
suggested by individual symptoms; this gradual crum- for years on an eagerly awaited eighth symphony, Sibelius
bling that does not alter the physiognomy of the whole is threw the manuscript in the fire. This biographical detail,
aborted at the beginning of the second part by a qualitative often noted, carries enormous pathos. But here, in the
leap, and flash of lightning, that does not however posit context of this concert, it has a special relevance. What if it
wasnt creative despair, or a misanthropic shrinking form
the world, that compelled the composer to burn his work?
MATHIAS SPAHLINGER, DOPPELT BEJAHT (2009)
What if it was the coldest logic? As if his compositional aim etudes for orchestra without conductor
had been fulfilled, and the musical thoughts had indeed The DePaul Symphony Orchestra
finally taken on a life of their ownto such an extent that and DePaul Chamber Orchestra
Sibelius the composer no longer had control over them.
So one might hear Tapiola as more than just the hypnotic, sometimes in music there are momentseven when the
haunting sound-portrait of the Finnish forests it claims to music is bound up in a more traditional formthat dis-
be. It could also be one way of hearing the vanishing point pense with a logical, sequential kind of hearing: in contexts
of common practice compositional thinking. A 20-minute of expected quality to be sure, but also ones exhilarating
window into another kind of forest, where nothing ever in their surprise, illuminating and exceeding coherence. a
stays the same, even as nothing ever quite goes some- light goes on, exposing the most beautiful aims and deepest
where; where the whole idea of theme begins to fall motivation of the author, maybe her pattern of childhood.
apart, even as one never hears a new theme. A continual they reveal the genesis of a concrete, inimitable historical
reconsideration of, a perpetual development of, rumination moment, and the individuals experience within it.
upon, some basic, by definition generic intervals. Tapiola the philosophy of political economy also has its own
becomes a document of supreme ambivalence: teetering beautiful passages.
between the sound of nature as heard by a transcendental thus karl marx, in the slog of the paris notebooks on ex-
auditorThe Composerand the natural sound, unfold- change on the basis of private property, develops a few (by
ing despite all human audition, all earful eorts at hear- his standards) pages toward a theory of alienated labor and
ing-as and listening-in. its alternative which, like all utopias with any truth-con-
Surely this is a thing with which Spahlinger can sympa- tent, at once points beyond both the deepest past and the
thize, albeit skeptically. He is, after all, the author of series wretched present.
of experimental text-scores entitled suggestions, concepts on the present work takes its title from this text of marx.
the liquidation/redundancy of the function of the composer. artistic work can on occasion give a sense of what would
But on a concrete level, Sibeliuss final, restive eorts are not be alienated labor. but one doesnt delude oneself. art-
a fascinating foil to Spahlingers experimental 2009 score works too are manufactured and distributed according to
doppelt bejaht (doubly armed). Here, the concept of the conditions of the market, and more to the point: their
ramifying is explicitly thematized in these 24 etudes for innermost constitution is itself dependent on the means of
orchestra without conductor. Each has many ways of going production, inculcated in power relations and their corre-
to another, via verzweigerungen (branches, lets call them; sponding patterns of thinking.
not forgetting that the Finnish forest god who was Tapio- the hierarchies that are required in order to champion
las subject-muse), and, rather than the musical thoughts the ideas of composers are as deceptive as they are seem-
ramifying in a questionable soul, it is the orchestral ingly clear to everyone: a conductor takes the podiumand
collective itself that allows this to happen. If one takes a few in the end the audience has no choice but to approve or
conceptual leaps, one might say that where Tapiola clutch- reject. composers cherish this illusion, and it is further
es for dear life onto the precipice of the mimetic (not just perpetuated by the notion that distribution serves produc-
natureair, light, flora, stormbut no less relevantly, his- tion, and not vice versa. but the power of thoughts among
torical forces), doppelt bejaht lets go, and becomes instead composers is on shaky ground as long as it fails to corre-
a microcosm of them: its own form, but with an un-own- spond to the thoughts of power and the (for good or ill)
able soul. The point is forcedthe orchestra becomes, not nontransparent ways in which these operate, although or
an imitation of, but an actual world. The players must make because no power is a monarchy in heaven and on earth.
decisionswithout anyone to tell them what to do, when to the absolute monarchy is its own dissolution, because it
do it, how to do it, how long to do itotherwise the piece has no object; strictly speaking, such a phenomenon has
simply does not happen. And while, of course, players in neverexisted. (hlderlin to isaak von sinclair)
orchestras always make decisions all the time, only here is in the seemingly harmless cultural sphere which likes to
their decision-making the compositional agent itself, rather emphasize the suprapolitical and thus apolitical dimension
than its fantastical imitation, whose concealment provides of its activity, the means of power and production are as
the very support for the fetishized commodity that the omnipresent and as unconscious as they are in the realm
institution of the 21st century orchestra has become. (Mi-
chael Lewanski and Seth Brodsky)
of politics more narrowly defined. they leave little room for opulent lists of instructions, that constitute a notation
thoughts which run counter to these means or attempt to anti-pattern. they defy not just the notation, but also the
supercede them. institutional, ideological, performative and hierarchical
and just as in politics, there exists a discrepancy be- thought patterns for which it stands.
tween, on the one hand, possibilities provided by exponen- speaking of performance instructions: these are occa-
tially increased productivity and, on the other, the power sionally more extensive than the scores themselves. three
structures that are too rigid, concrete interests that use dierent composers might in some cases use nine dierent
every form of violence to maintain anachronistic modes of symbols for the same sounding result. yet this too should
production. This gap is a central characteristic of our times. not be criticized too much, as long as notation is supersed-
musics own backward orientation, its nearly exclusive ing tradition at all. for unlike the fixed tones in the tonal
devotion to the tonal tradition and concomitant reduction system timbres can only be systematized multidimensional-
of the contemporary to a special interest is a prototypical lyif at allfor they are prioritized dierently in changing
example. equally prototypical within this are the produc- circumstances, the requirements change, the pragmatism
tion mechanisms and their rigid divisions of labor. music changes, and the virtue of simplicity might dictate custom
notation flows out of these divisions, perpetuates them, and solutions.
thus provides an instructive example. it is here that doppelt bejaht takes its point of departure.
music notation is brilliantly suited for illustrating how it is (not about participation but) about self-determina-
tonal music sounds (as resultant notation), and is adequate tion; and not directly about this, but through mediation:
to this task. new music, though, describes its principal for the sake of comprehending compositional procedures
characteristics by starting them all with the letter a: it is and musical practices that are tied to pre-emancipatory
atonal, ametric, amotivic, asynchronous, etc.its primary thinking habits.
characteristic is openness, certainly also in the realm of the third trombone part in a bruckner symphony, as
form. this is a feature it does not share with music notation, part of a highly diversified labor structure, reveals no clues
whose realization it either inhibits or outright prevents. about the whole; taken on its own, it is quite meaningless.
all those achievements of modernity that music reflects, it is no less sad to look at than a complex orchestral score
questions, criticizes or changes must be carried forth, de- from our own day. from this perspective, there is clearly
spite the added resistances of notation and its methodolog- no progress. a spontaneous smash the institutions would
ical, performance-practice-related, reproduction-related, achieve nothing.
pragmatic, and of course aesthetic implications. playing instructions for doppelt bejaht were devised with
nothing is simpler for a group of autonomous musicians, the aim of focusing the musicians attention and responsi-
each embodying composer and instrumentalist in one, to bility on the wholea whole which, since it involves new
play in as many dierent tempos as there are musicians. music, can only be a contradictory, open whole, changeable
under the baton of a conductor, achieving the same thing in itself and actually changing itself. and playing rules had
with an absurd amount of rehearsal just because it has been to be formulated that keep open the ability of every partic-
set in stone by the will of a single composer in a notation ular to exert of measure of influence. the working methods
system for which a 4/4 measure is the norm, a 3/4 measure of the musician, transformed, more open, ought measure
of rest is already a logical problem, to say nothing of the up to the material of new music, which opens in all direc-
fact that three triplet-eighths add up to a quarter. since the tions.
purpose of the barline is synchronization and all traditional doppelt bejaht moves between the extremes of conceptu-
music, in the sense of a unified shape, knows no alternative alism and a play of communication. both relate to the fact
but to assign a uniform tempo to all participants. its al- that the performance instructions dont conjure evocations
ready a contrarian act to assign two independently running of the acoustic or social (in contrast to the premise of the
tempos, and non-uniform accelerations and ritardandos score as sum total of all the composers individual deci-
even more so. the human right to think individualistically, sions), but rather should enable the concept itself.
as asserted by adorno, is denied, prevented by traditional ideally these two approaches can be kept distinct in the
notation. following manner: it is characteristic of conceptualism
the examples could accumulate ad infinitum. that which that a single idea, invented in a few seconds and recorded
is not bound to tonality and meter, synchronized, tied in a few minutes, can generate many minutes of consider-
to voices that correlate with individuals and with their ably sophisticated and complex music (an ideal example:
uniform timbral identity, defies representation through tra- pome symphonique for 100 metronomes by ligeti). even if
ditional notation, at least not without a plethora of special it's nothing more than that several musicians on the same
signs, action notation, verbal explanations, and absurdly instrument playing the same sound one after the other. the
timbral dierence between the dierent instruments of the
same category or of the musicians that play them (what
nicolaus a. huber referred to as human timbre) is intend-
CONCERT 4
ed to be heard as a dierentiation, comes about on its own, FRIDAY, MARCH 13
and cannot be notated as suchand, incidentally, also GRAHAM FOUNDATION
defies analysis, insofar as analysis habitually presumes that
all possible meaningful sensory experience in sound rests
upon the intention and concrete decisions of a composer in
the hierarchy of meaning represented by a score. MATHIAS SPAHLINGER, AUSSAGEVERWEIGERUNG/
pure conceptualism as a mechanical procedure is not GEGENDARSTELLUNG (1981)
present in doppelt bejaht. a minimum of decision and com- two contra-contexts for double-quartet
SUONO MOBILE
munication on the part of the musicians is always possible Matthew Sheppard, conductor
and necessary.
the play of communication knows a handicap however,
language refers to the status quo as much as to that which
a game-rule, perhaps a repertoire of sound-material, or
is beyond it; we cannot transcend language, our avenues of
running, the remains hollow as such if he only from. page is
communication, or our social context; at least not directly,
played. what is asked of her musicians, is a culture, not the
not without society.
obligation fulfillment, but of deviant behavior. So what is
putative self-defense or pre-emptive strike might well
expected of the musicians that they contribute, are not ac-
reflect ones own thoughts and those of the other simulta-
cidents, but the essential features. the living dierence, the
neously; but not with the intent of harmonizing ones own
other sichtweise, individual and unmistakable expression,
stance with that of the stranger through amicable negation,
etc., which accounts for a possible or concerted running a
but rather positively, as unmediated self-preservation.
vibrant development and movement in contradictions.
such projections of the enemy-as-bogeyman seek to
just as important as the 24 numbers is the method of
resist external interpretation, which they dread as an attack
their being linked with one another through branching
upon their own consolidated standpoint, rather than wel-
[verzweigung]. often the numbers are already processes
coming it as a chance at self-renewal. they do not tolerate
in themselves, and are expected to generate contradictory
the context of the actual adversary nor do they wish to act
decisions and readings; in the branchings with which they
as context themselves; they rather seek, in pre-dialectical
end, the musicians must choose between three possible
fashion, to be text and context at once, such that each is
paths, must find a way, through music-making, to choose
tautological; they refuse to testify and thus their interrela-
one of three possible numbers.
tion with the other remains forced.
these 24 suggestions carry the subtitle etudes. this is not
a language that has devolved into mere counter-repre-
meant figuratively. to put it another way, freedom requires
sentation loses its individual qualities and forms, those
practice. great precursors, with whom one doesnt want to
which would come to independent fruition only where true
be compared, are chopins etudes for piano, and particularly
communication succeeds, beyond their willful dierences;
bachs klavierbungen.
reciprocal contra-contexts, whose structure this music
i would never have ventured to undertake the project
attempts to reflect, appear, to the outside onlooker, nearly
doppelt bejaht had i not also felt a deep reverence for the
identical. (Mathias Spahlinger, trans. Philipp Blume)
SWR-Symphony Orchestra, whose decades-long experi-
ence with new music is still able to leave me speechless.
i hope that doppelt bejaht is a possible space (for musi-
cians, listeners, and especially myself ) to learn, practice,
and understand what new music is or still could become. MATHIAS SPAHLINGER, FNF STCKE
by no means do i see it in an exclusionary way, as the FR ZWEI KLAVIERE (1969)
SUONO MOBILE
only right path. the problems of new music are many and Philipp Blume and Sam Gingher, pianos
manifold, and must be worked out in most dierentiated
ways. certainly the standardized ways are by no means to
The Five Pieces for Two Pianos (1969), premiered in 1970
be expunged wholesale.(Mathias Spahlinger, trans. Philipp
in Darmstadt, constitute the first entry in Mathias Spah-
Blume and Seth Brodsky)
lingers work catalog. They are a collection of aphorisms,
vignettes of pianistic color, at times static, at other times
fanning out into rhythmicized chord patterns. The pieces
provide a glimpse of Spahlingers early interest in individ- that they would appear with the first note and disappear
uation of fulfilled moments and micro-dramas, which with the lastapart from the violoncello, which must be
comes to fruition in the slightly later 128 erfllte augen- silently present and apart from the piccolo, which can be
blicke for voice, clarinet, and violoncello, but continues to heard in part iia, but which should also be visible in iib.
reappear throughout his creative output. (Philipp Blume) the work is dedicated to cornelius schwehr.
(Mathias Spahlinger)
As I was getting to know the score, the first thing that
struck me about Spahlingers furioso was its strange,
PHILIPP BLUME, IN NUCE (2003, REVISED 2009) apparent lack of fury. For long stretches, there are only
for winds, brass, and double-bass
Illinois Modern Ensemble quiet, isolated points of sound. Thanks to my friend and
Stephen Andrew Taylor, conductor colleague Philipp Blume I knew some of Spahlingers work,
and his daring sonic vision: completely uncompromising,
but not gratuitously shocking. Even so, with the title, and
in nuce revisits a number of ideas left unexplored by col-
the preface to the score (especially Hegels fury of disap-
laboraxiom (2003) regarding the interaction of duple and
pearing), I was ready to be shocked. I wasnt. And I was
triple subdivision. In the new setting, however, these ideas
surprised I wasnt. But in the last five minutes, everything
take on a very dierent character. The piece is a study in,
that has been held in check is suddenly released: screaming
and stylized representation of, the phenomenon of group-
dissonances in the winds and piccolo trumpet coalesce into
think.
long, cantilena melodies. This makes me hear the pre-
The piece was performed on May 5, 2003, by the Berke-
ceding 15 minutes in a completely dierent way. The fury
ley New Music Project, under the direction of Professor
becomes real: Hegels negative act in sound. (Stephen
David Milnes. After substantial revisions, the work was
Andrew Taylor)
presented by the Ensemble-Akademie Villa Musica in con-
certs in late November 2009, under the direction of Frank
Lloyd. (Philipp Blume)
CONCERT 5
MATHIAS SPAHLINGER, FURIOSO (199091) SATURDAY, MARCH 14
for 13 instruments LOGAN CENTER FOR THE ARTS,
Illinois Modern Ensemble UNIVERSITY OF CHICAGO
Stephen Andrew Taylor, conductor
First Citizen: Our wives and children are crying for

bread, and were going to feed them with the flesh of the Sponsored by the University of Chicago Arts Council and
aristocrats. Death to anyone with no hole in his coat! the Reva and David Logan Center for the Arts
All: Death, death!
First Citizen: What is the law?
Robespierre: The will of the people.
First Citizen: Well, were the people. And our will is MATHIAS SPAHLINGER, VERLORENER WEG,
that there shouldnt be any law. Ergo, our will is the law, VERSIONS 1 AND 2 (2000), FOR ENSEMBLE
Ensemble Dal Niente
ergo, in the name of the law there is no law. Ergo, death! Michael Lewanski, conductor
(Georg Buchner, Dantons Death)
Universal freedom can thus produce neither a positive The title verlorener weg (Lost Way) was inspired by the
work nor a positive deed, and there remains for it only name of a street in Freiburg in Breisgau, the picturesque
the negative act. It is solely the fury of disappearing. Black Forest city where Spahlinger held his composition
(Hegel, The Phenomenology of Spirit) professorship. The work encapsulates one of many strat-
the ensemble is conceived as open, as in flux, the musicians egies by which Spahlinger strives to stay true to an aspect
and instrumental tones as coming and going. ideally, if the of new music that is essential to its definition: the lack
procedure wouldnt be too obtrusive and apt to distract of intrinsic teleology. The materials of the work are con-
from the music, the musicians, each at their own tempo ceived in such a way that any one of them can be followed
could be drawn across the stage on podiums on wheels, so by any other. The age-old question of open form is hereby
symposium: there
is no repetition
SATURDAY, MARCH 14, 9AM5PM
LOGAN CENTER FOR THE ARTS PERFORMANCE PENTHOUSE, UNIVERSITY OF CHICAGO
Sponsored by the Franke Institute for the Humanities, the University of Chicago Music Department, and the Uni-
versity of Chicago Deputy Provost for the Arts
MORNING PANEL SETH BRODSKY, THERE IS NO

(9:30AM12PM) REPETITION THE POLITICS OF
REPEATEDLY NEW MUSIC
Seth Brodsky (Music, University of Chicago)
there is no repetition: The Politics of
Repeatedly New Music The ban on repetition haunts musical modernism (i.e., the New
Music) from its ever-debated origins: repeat not thy forms, thy
Brian Kane (Music, Yale University)
means, thy precursors. And this ban is seen as a corollary of
Spahlinger, or The View from New Haven
modernisms lifeline to the political, its revolutionary pretense:
Simon Obert (Musicologist/Curator, Paul Sacher Stiftung) to overthrow existing sensible regimes, to defy convention, to
Here and NowNowhere and Nowhen: Time in the be the locomotive of world history. Mathias Spahlinger, one
Music of Mathias Spahlinger of contemporary compositions most explicitly political and
politically faithful living practitioners, toes this line when he
describes New Music as the very revolution of revolutions,
BREAK (121:30PM)
because she has discarded the conventions, without, however
having replaced them with new conventions. My talk takes
AFTERNOON PERFORMANCE PANEL Spahlingers own liminal repetitions as its central example,
(1:303PM) and attempts to see how far one might connect the modernist
ban on repetition to a modernist commandment to repeat on
Philipp Blume (co-founder, SUONO MOBILE USA)
another register: to remain faithful to the new, the yet-to-come,
Getting from Here to Here: Mathias Spahlingers
the never-before, the singular.
Only String Quartet in the Context of his Oeuvre
Spektral Quartet (Chicago) BRIAN KANE, SPAHLINGER,
apo do (from here) (1982) for string quartet OR THE VIEW FROM NEW HAVEN
CLOSING KEYNOTE A decade ago, Philipp Blume gave me a CD full of MP3s. It

(3:154:45PM) contained released and unreleased recordings of nearly all of
Spahlingers works. It struck me like a bolt from the blue. It
Anne Shreer (Music, Harvard University)
was the kind of aesthetic object that required me to formulate,
Precarious Utopias: Modelling Community
with all of my capacity, an aesthetic and philosophical position
in Collaborative Works
adequate to its demands. I passed it around like a virus. In that
last decade, I have not been a student or acolyte of Spahlinger;
I have not taught his music to young composers; I have neither
pored over scores, produced analyses, nor discovered secret democratic society that does not (and most likely could not)
compositional systems. Rather, I have been a listener. In this exist in the real world. Jazz musicians have also explored the
paper I will tell you what I have heard. radical and transformative potential of improvisation as a medi-
um for social change in a sustained and serious way, particularly
SIMON OBERT, HERE AND NOW during the civil rights movement and the African anti-colonial-
NOWHERE AND NOWHEN: TIME IN THE ist struggles (Monson 2007).
MUSIC OF MATHIAS SPAHLINGER While there are clear symbolic and practical limits in using
musical collaboration to eect social change, many have recog-
nized a moment of possibility even in contingent and tempo-
Overviewing the oeuvre of Mathias Spahlinger, time seems
rary situations. Simply providing a framework for musicians to
to be an ongoing topic of his music: There are extremely long
work/play together outside of the ordinary, established concert
pieces (like extension), extremely short pieces (like vier stcke),
ritual can already hint at a kind of precarious utopia, by carving
pieces that consist only of or in instants (128 erfllte augen-
out a space for meaningful human interaction in the last re-
blicke), and pieces (like akt, eine treppe herabsteigend) which
treats of resistance, the hours still exempt from the demands of
thematize the impossibility of a Here and Now in music, since
machinery, as Theodor W. Adorno put it (Minima Moralia).
music is continuous. But because its continuous, its at the same
I would like to examine metaphors of social modeling in
time a movement, and movements, if stoppedin a Here and
Mathias Spahlingers collaborative works vorschlge. konzepte
Now, arent in motion any more.Well, thats at least what
zur ver(ber)flssigung der funktion des komponisten (proposi-
some philosophical logicians say. But the point is just to think
tions. concepts for the liquidation/superfluity of the function
and feel the impossibility so that it becomes possible.
of the composer, 1993) and doppelt bejaht. etden fr orchester
ohne dirigenten (doubly armed: etudes for orchestra without
PHILIPP BLUME, GETTING FROM HERE TO
conductor, 2009), reading these against comparable pieces by
HERE: MATHIAS SPAHLINGERS ONLY STRING
Christian Wol (Changing the System, 1973), Pauline Oliveros
QUARTET IN THE CONTEXT OF HIS OEUVRE
(The Witness, 1989), George Lewis (Artificial Life, 2007), and
Michael Pisaro (Tombstones, 2010). My goal is not to ascribe
Given a festival entitled there is no repetition, Mathias Spah- any patterns of influence or historical genealogies among
lingers three-movement string quartet apo do (from here) these works, but rather to use them as a way to think about the
is something of a thorn in the sidea tough nut to cracka dierent ways in which musical collaboration can model social
head-scratcher. Here, the theme of repetition is only obliquely change, or even bring it about.
evoked by the music, yet the second and third movements are Open scores like these are often discussed in terms
explicitly given the heading quasi da capo senza fine. An eort allowing additional freedom to the performers, but I find this
to unpack this cryptic designation will require digressions notion to be of limited usefulness in analyzing this music. First,
into some of the less familiar corners of Spahlingers output. alternative forms of notation do not really involve more free-
The presentation will be supplemented by recordings, include dom, but rather more responsibility. Moreover, the relationship
live excerpts of the composition, and culminate in a complete between freedom and control is less a dichotomy than a
performance of apo do by Chicagos very own Spektral Quartet continuum anyway. Instead, I shall focus on how the com-
(Clara Lyon and Austin Wulliman, violins; Doyle Armbrust, vio- positions, as performance scripts, set into motion a series of
la; and Russell Rolen, cello). actions that involve individual as well as collaborative strategies.
(Actually all scores are scripts for performance; the actions
ANNE C. SHREFFLER, PRECARIOUS called for by indeterminate notation are simply more unfamiliar
UTOPIAS: MODELING COMMUNITY IN or unexpected than those of conventional notation.) Examining
COLLABORATIVE WORKS the collaborative actions (literally and metaphorically) and their
sonic results allows us to come closer to describing which how
these open form works can represent, (re)enact, and embody
The ubiquitous hierarchies in classical music culture, as obvious
the thought patterns and structures of political life (Spahlinger
analogues to Western social structures, have been under attack
1991).
at least since the 1950s. Composers have sought to question
the frameworks of musical institutions, ensembles, concert
rituals, and even notation and playing techniques by creating
MATHIAS SPAHLINGER, APO DO
(FROM HERE, 1982), FOR STRING QUARTET
works characterized as open form, indeterminate, aleatoric, or
improvisatory. Their notation depends heavily on verbal and
textual instructions; some scores use only words. Many are Spektral Quartet
bound up with explicit or implicit political programs. If Cages apo do was commissioned by the goethe-institute in athens and
Concert for Piano and Orchestra (195758) permits a reenact- is dedicated to the leonardo quartet. the title is taken from the
ment of social anarchy (in the strict political sense), others have poem the last century before mankind by jannis ritsos, written
seen in collaborative composition a way to model an egalitarian, 1942 under the impression of the german occupation; without
attempting a direct depiction of the terrors of war, it is permeat- found in several editions of chopins last mazurka) has become a
ed by the horror that is reflected in changed everyday life, in the quasi da capo senza fine: the unchanging successions of frag-
damaged experience of the most familiar things, and well as in ments were composed in two versions. a third breaks o shortly
the meanings that the light of the dierent hours of the day and after it begins. only while at work on the composition did i first
the weather assume for agonized consciousness: in the fallen remember that i had, in so doing, quoted the form of becketts
down hands of a clock on a cathedral; in the mud that flows playprovided one ignores that, with beckett, the repetitions
with melting snow from the mountains and swims along with are literal ones.
torn flags, army medals, and bones; in the clattering of shut- the piece is preceded by three mottos. a famous one from
ters, that applaud the desert of solitude; in the waiter who has brecht, whose opposition of lyric poetry concerned with nature
fallen asleep, whose head has sunk upon the serving tray, and and political necessity has been falsified by the global destruc-
whom is taken by those who expect nothing other than terror tion of natureperhaps one will recollect, that if music ever
to be a dead man-in paratactically ordered fragments of images should perish in a sea of credit and coca-cola, then a discussion
that seem to be taken from the destroyed context of a history; in about it would become a political one.
the traces in which murder has been left behind due to the pow-
what times do we live in, when
er of interpreting, supplementing work that demands that same
a conversation about trees is nearly a crime,
work of fantasy to read the unspeakable, at whose representa-
because it implies staying silent about so many atrocities!
tion art refuses to work. without avoiding the experience of real
suering, the demand to let suering become eloquent (ador- the second, ein blatt, baumlos,/ for bertolt brecht, is the an-
no) and fleeing to powerless beauty, ritsos escapes presump- swer from paul celan:
tuousnessand with it kitsch, which cultivates the confusion
what times do we live in,
of the beauty, greatness, or violence of its subject with its own.
where a discussion
finally, how a poem sees itself in relation to politics is thema-
is almost a crime,
tized, a poem which operates so that, in the consciousness of
because it incorporates so much
its esotericism, it takes itself directly into public hostility as
thats explicitly said?
fragmented, as reduced, as unenunciated conversation, as a sign
for co-conspirators: the poet constructs in the desert of war at a the third, a silence filled by trees comes from the poem the
street intersection a wooden panel on which to be read is: from blackened pot, which yannis ritsos composed in 1948/49 in a
here to the sun. concentration camp for political prisoners on the island limnos,
in the hope that my work could be understood as an homage where he had been sent for his participation in the civil war on
to jannis ritsos, as the expression of respect for the past and the side of a free greece. The specific context is as follows:
current-day battle of the greeks against economic and cultural
then the cell gets even narrower
expropriation, i have sought compositional means through
and one must think of the light on the wheat fields
which the genre of the string quartet, itself a specific central-eu-
and of the bread on the tables of the poor
ropean bourgeois tradition, could take on another esotericism,
and of the mothers as they smile at the window
namely the character of that which remains uninterpretable or
so one can create enough room to stretch out ones legs.
of that suggestive sign which is destined for communal experi-
ence. in this greek rhythmswhich are occasionally used, only in these hours you press your hand on that of your comrade,
to disappear just as quicklyor a carefully hidden quote from there emerges a silence filled by trees,
the workers song brothers, to the sun and to freedom (that and the shared cigarette passes from one mouth to the next
originated from a russian prison and then accrued a rich tradi- like a flashlight poring through the forestwe find the artery
tion in germany) which supplements melodically words barred which leads to the heart of spring, and we smile.
from the title (to the sun) play a less significant role than does
the attempt, analogous to that in ritsoss poem, to in some way we smile into ourselves. now we conceal it, this smile.
let fragments come together at the same time that isolates them unlawful smilingjust as the sun became unlawful
from one another and, at the same time, produces the impres- unlawful also the truth. we conceal the smile,
sion that they have been taken from a context only understand just as we conceal the picture of the beloved in our pocket,
to the initiated. form then lets itself be reconstructed as the just as we conceal the idea of freedom in the darkest corner
architecture and dramatic course of events, as a logically told of our heart
story through the rearrangement of parts and their completion. all who are here, we have one heaven and the same smile.
simple, ongoing repetition may turn something enciphered into maybe they will kill us tomorrow, but this laughter
something remotely familiar, and may give to something oth- and this heaven they cannot take away from us.
erwise devoid of significance the appearance of being just as
it should be [so und nicht anders]; thus i have disavowed the (Mathias Spahlinger, trans. Philipp Blume
original idea of increasing the hermeticism, so that something & Nicholas Betson) -
enciphered persists while its meaning withdraws with each
repetition. the da capo senza fine (a instruction that that is
invoked anew. It is a recurring problem, since the material I pray to God that he will go with me,
of new music has no formal implications, it has no desire to And grant that briefly I may see you again,
go anywhere, as for example a fugue theme might. Funda- My sweet, my love and my goddess!
mentally, the work consists of a collection of 13 dierent For its my view of what Im leaving
sound situations, and each realization-in-score of the work That after my pain I shall have joy.
traverses a dierent path through these, thereby highlight-
Farewell my love, farewell my joy,
ing their varying characteristics from new perspectives. To
Farewell the comfort which I confess,
go from one sound type to another requires, for any given
Farewell my loyal mistress!
pair of types, a unique transition strategy. Spahlinger de-
Saying farewell wounds me so badly
cided that the best way to illustrate this state of aairs was
That it seems to me that I must die.
to present two realizations, which both had to be presented
in the same concert. It is certainly possible to create further
versions from the basic building blocksif not on paper,
then in the listeners imagination. (Philipp Blume)
MATHIAS SPAHLINGER, MSICA IMPURA (1983)
for voice, guitar, and percussion
Amanda DeBoer, soprano
Jesse Langen, guitars
Greg Beyer, percussion
GUILLAUME DUFAY, ADIEU MAMOUR
Amanda DeBoer, soprano
Jesse Langen, guitars
msica impura represents an attempt to find a response,
adequate to our times, to pablo nerudas prose poem posie
Adieu mamour, adieu ma joye, impure, which in turn represents a polemical stance against
Adieu le solas que javoye, the notion of posie pure. my intention was to ask the
Adieu ma leale mastresse! question anew, whether it was not possible to press music
Le dire adieu tant fort me blesse, into the service of concrete expression without falling back
Quil me semble que morir doye. upon the insights of the bourgeois avant-garde, namely
that music inhabits some existence independent of specific
De desplaisir forment lermoye.
meaning, such that its expression remains unspecific and
Il nest reconfort que je voye,
can be freely manipulated.
Quant vous esloigne, ma princesse.
the line pobre por culpa de los ricos (poor on account
Adieu mamour
of the rich), from nerudas espaa en el corazn (spain in
Je prie a Dieu quil me convoye, the heart) is, at first, permanently repeated, but not inter-
Et doint que briefment vous revoye, preted expressively. it instead is merely instrumentalized
Mon bien, mamour et ma deesse! through the formation of analogies to the phonetic sounds;
Car advis mest, de ce que laisse, by acknowledging the impossibility of representing the spo-
Quapres ma paine joye aroye. ken sentence entirely through musical sounds, the inability
Adieu mamour, adieu ma joye, of music to speak directly, I hope to find expression for the
Adieu le solas que javoye, inadequacy and powerlessness of musical expression, as
Adieu ma leale mastresse! sanctioned by the European art music tradition, in the face
Le dire adieu tant fort me blesse, of concrete suering. (Mathias Spahlinger, trans. Philipp
Quil me semble que morir doye. Blume)
Farewell my love, farewell my joy,

Farewell the comfort which I confess,
GUILLAUME DUFAY, LA BELLE SE SIET AU PIET
Farewell my loyal mistress! Amanda DeBoer, soprano
Saying farewell wounds me so badly Jesse Langen, guitars
That it seems to me that I must die.
With sorrow I weep greatly La belle se siet au piet de la tour,
There is no comfort that I can see Qui pleure et souspire et mainne grant doulour.
When I leave you, my princess. Son pere lui demande: Fille quavez vous?
Farewell my love Volez vous mari, ou volez vous seigneur?
Je ne veul mari, je ne veul seignour; autonomy from their over-arching context (dufays adieu
Je veul le mien ami, qui pourist en la tour. mamour), just as the true duty of love lies in forgetting
Et par Dieu, belle fille, a celui faudrs vous, ones duty to apprehend generalities; they simultaneously
Car il sara pendu demain au point du jour. make reference to fragmentation, division, and separation;
Et pere, son le pent, enfouys moy desous, are meant as a repudiation of a beloved tradition which we
Si diront les gens: vecy loyaus amours. are unable to reach, one which pulls away from all forms of
possessive embrace, and resists reconstruction. (Mathias
Spahlinger, trans. Philipp Blume)
The beautiful lady sits at the foot of the tower,
Weeping and sighing, and is very sad.
Her father asks her, Daughter, whats wrong?
Do you want a husband, or do you want a Lord?
I dont want a husband, I dont want a Lord, GUILLAUME DUFAY, PASSATO IL TEMPO
Amanda DeBoer Bartlett, soprano
I want my own love, who is rotting in the tower. Jesse Langen, guitars
By God, fair daughter, you wont get him,
For he will be hung tomorrow at dawn.
O father, if they hang him, bury me next to him, Passato il tempo omaj di quei pensieri
So people will say: here is true love. Che mi solea tuor pace
E hor forte mi spiace,
Tal che mi diede gi longi martiri.
Ancor pi mi tormenta il grande erore
MATHIAS SPAHLINGER, ADIEU MAMOUR, HOM- Che ma conduto a tanta extrema vita.
MAGE GUILLAUME DUFAY (1983) Se amato avesse cosa di valore,
for violin and cello Seria mia pena con men doglia usita.
Austin Wulliman, violin
Chris Wild, cello Per convegno al tuto far partita
Dal passato piacere;
adieu mamour: love as farewell from a love that wishes to En questo provedere
possess: from the desire that equates the life of the other Perder lieltate e rinovar sospiri.
to itself; from a tradition that will perceive its distance Passato il tempo omaj di quei pensieri
painfully. Che mi solea tuor pace
on extremely detuned strings, which in and of them- E hor forte mi spiace,
selves already call for an especially sensitive control of the Tal che mi diede gi longi martiri.
bow, are added a great quantity of unusual playing tech-
niques (bowing above the left-hand fingersmultiphonics
achieved by bowing on the nodes of the stringsounding The time is now past for those thoughts
of a portion of the string through slight overpressure of Which used to destroy my peace
the bowan extended fawsett technique for harmonics, And now I am very displeased
which calls for a precise and even motion of the bow at At that which gave me so long a torment.
specific locations on the string, etc; playing techniques, in What torments me even more, is the grave mistake
other words, which are immensely fickle), with the inten- Which brought me so near the end of life.
tion of bringing forward into the players consciousness If I had loved a lady of worth
that dialectical movement, suppressed through long prac- Then my devotion would have brought me less pain.
tice and mastery of the conventional techniques, between a
sensitive awareness of the acoustical-mechanical properties Still, everyone has to leave behind
of the instruments on the one hand, and the active/reac- The pleasures of the past;
tive comportment of the performer: the capacity to let the In looking forward,
foreign-familiar live by its own rules, and let it come into We lose old loyalties and renew our sighs.
an ever freer and more intimate unity (hlderlin) with The time is now past for those thoughts
the interpretive will. isolated tones, due to the demands of Which used to destroy my peace
immensely performative demands and the taxing sense of And now I am very displeased
focus with which they need to be realized, draw all atten- At that which gave me so long a torment.
tion upon themselves, and release themselves with a gentle
for (or side eect of ) interculturality, perhaps even for/
CONCERT 6 of multilingualism. i grew up in the frankfurt opera house
(also with renaissance and medieval music) and in the jazz-
SUNDAY, MARCH 15 keller. anyhow, this piece is (like extension, among others)
BOND CHAPEL, UNIVERSITY OF CHICAGO a repudiation of stylistic purity (style being a societal
phenomenon, often one of identification or even identity,
and thus also one of hostilityand therefore to be regarded
skeptically, especially in the guise of personal style.)
Presented by the Renaissance Society, with support the drum set is the most successful instrument since
from the German Consulate General of Chicago, and the the start of the 20th century. even bavarian folk music cant
Embassy of Switzerland, Chicago make do without it anymore. ausnahmslos ausnahmen ex-
clusively avails itself of drumming patterns (and their near
or distant derivatives) that every drummer has practiced
backward and forward, but these never appear in such a
MATHIAS SPAHLINGER, RUNDWEG (2010) way that the 4/4 measure and its concomitant formal im-
for recorder, violin, and cello plications are armed. every traditional music is a system
XelmYa (Alexa Renger, violin, Sylvia Hinz, recorder,
Ulrike Ruf, cello) of selective perception and interpretation. in this piece i
have tried to work in such a way that, for all the rules which
serve to define convention, only the exceptions to those
from the series concepts and variants: in its purest and rules are presented. (Mathias Spahlinger, trans. Philipp
most extreme form, conceptual music can emerge from a Blume)
single idea, come up with in a second, written down in a
minute, and performed for an unending duration. to be
held for a long time from lamonte young and pome sym-
phonique for 100 metronomes by ligeti come extremely But here, alas, again
close to doing this. but heres the trick: the idea has to be of no repetition was possible.
the sort that enables or guaranteesthrough the decisions
(Sren Kierkegaard, Repetition)
of a musician, or automatically and mechanically (as in the
100 metronomes)a wealth of sounding relations which,
while retaining the basic idea through an written-out score,
cannot be surpassed. if this is not the case, the concept
must be more precisely determined in its execution and
more delimited in its duration. all conceptual ideas are MATHIAS SPAHLINGER, EXTENSION (197980)
related to each otherthrough the idea of conceptualism. for violin and piano
since they produce open forms, they can all be converted, Members of Wet Ink: Joshua Modney, violin, Eric Wub-
bels, piano
through gradual transformation, into one another. rundweg
for recorder, violin and cello run through, among other
thing, the stations of klangfarbenmelodie (sound-col- extension (1979/80) for violin and piano was conceived as
or-melody), micro-intervals, upstairs/downstairs, and counter-model to a form of thinking which derives vari-
ends only seemingly with a reprise, namely one by the ations or subsidiary thoughts from a main idea; not only
whole piece reveals itself overall as a loop, a circuitous path should all ideas (in the tradition of adorno) be equidistant
[rundweg]. (Mathias Spahlinger, trans. Seth Brodsky) from the central point, but every idea should be expo-
sition and development simultaneously. this takes place
as follows: the system of relationship establishes itself by
expanding at once explosively in all directions at the same
MATHIAS SPAHLINGER, AUSNAHMSLOS time. this suggests that everything is connected with every-
AUSNAHMEN (2014) thing else, even the most distant element. there is, however,
for drumset no such thing as order for everything. the working thesis
Christoph Brunner, drumset was: a universal connection between the senses is only to
be had at the price of its growth, like a chain reaction, and
i began with the following considerations: new music is not its own neutralization, as flight of sense. for this reason the
a style, but rather a method of critical self-reflection, thus piece is preceded by a motto from paul valry: thinking?
applicable to all styles and simultaneously a prerequisite that means losing the thread. (Mathias Spahlinger)
order to create their own repertoire for voice and percussion.
biographies
In the past fifteen years they commissioned almost thirty works
and gave concerts on various tours in Switzerland, Germany,
France, England, Poland and the US. Christoph Brunner lives
with his family in the bernese Jura.
Ensemble Dal Niente is a 22-member Chicago-based con-
IN ALPHABETICAL ORDER
temporary music collective that presents and performs new
music in ways that redefine the listening experience and
advance the art form. The programming, brought to life by a
Philippa Blume is a composer of new chamber music whose flexible repertoire-based instrumentation, seeks to challenge
works have been featured in cities throughout Europe and the convention and create engaging, inspiring, and immersive
Americas, including London, Paris, Berlin, Caracas, Buenos experiences that connect audiences with the music of today.
Aires, San Francisco, Freiburg, Stuttgart, Darmstadt, and Ensemble Dal Niente became the first-ever ensemble recipi-
the Ban Centre for the Arts. He was a student of Professor ent of the coveted Kranichstein Music Prizethe top award
Mathias Spahlinger in Freiburg until 1999, and in 2006 com- for music interpretationat the 2012 International Summer
pleted his doctoral studies under Professor Cindy Cox at the Courses for New Music in Darmstadt, Germany. The ensemble
University of California, Berkeley, where he was also recog- has commissioned or premiered hundreds of works and has
nized for outstanding work as an instructor. From 20052013 collaborated with visual artists and playwrights to create rich
Philipp was a Visiting Assistant Professor of Composition new experiences for audiences and people of diverse creative
and Theory at the University of Illinois, Urbana-Champaign, disciplines. Equally at home working with major international
where he also presented an annual recital featuring, among figures as with younger composers, recent collaborators in-
other things, his own compositions. clude Brian Ferneyhough, Chaya Czernowin, George Lewis,
Marino Formenti, Kaija Saariaho, Marcos Balter, Greg Saunier,
Seth Brodsky is Assistant Professor of Music and the Human-
Deerhoof, Hans Thomalla, Lee Hyla, Johannes Kreidler, Mark
ities at the University of Chicago. His scholarly and critical
Andre, Evan Johnson, Aaron Einbond, Katherine Young, and
work pursues two related lines of inquiry. The first concerns
Jay Alan Yim.
music of the 20th and 21st centuries, in particular the field of
composerly production, with all the openness this connotes: Owen Davis is a composer, percussionist, and improvisor
how is the composer constructed, and how does she function based in Chicago, IL. He is an active improvisor and new
culturally, discursively, technologically, mythically? Brodskys music performer in Chicago often collaborating or composing
second line of inquiry involves the role of unconscious pro- for projects and concerts. He is currently a graduate assistant
cessesparticularly as figured in psychoanalytic discoursein pursuing a masters degree in Music Composition at DePaul
the making and experiencing of music. Here he is especially University where he studies with Chris Wendell Jones, Kurt
interested in musical influence and intertextualitythe lo- Westerburg, and Seung-Ah Oh. As a composer, Owen has
cus of the otherin the work of living, recently deceased, received commissions from soloists, various chamber en-
or frequently resurrected composers. How, for instance, do sembles, and university and high school programs including
contemporary composers fantasize and shepherd their al- the Chamber Cartel, the College of Southern Idaho, and
iations with their musical past and precursors, and what role Chicago Wild Sounds. In 2014 Owen was one of the founding
does the psychoanalytic unconsciously play in these fantasies? members of the Chicago-based new music ensemble Mocrep,
with which he currently performs as a percussionist as well
Christoph Brunner was influenced at an early age by the
as serves as a co-artistic director.
free jazz pioneer Pierre Favre. Subsequently he studied clas-
sical percussion at the Winterthur Conservatory of Music The DePaul Chamber Orchestra is designed to instill, first
(Switzerland), as well as contemporary music in Paris (with and foremost, a devotion to relentlessly excellent musicianship
Gaston Sylvestre), Brussels (Robert Van Sice) and San Di- in all of its members. The ensemble involves the serious, in-
ego (Steven Schick). As a soloist he has commissioned and depth study of a wide range of repertoire, standard and non-,
premiered numerous works, and has received invitations from the 18th to the 21st Century. All students are expected
to renowned festivals (Zurich, Geneva, Lucerne, Stuttgart, to develop and maintain high-level musical and professional
Witten, Berlin, Nashville, Chicago and Cairo). Since 2008, standards. Fundamentals skills of orchestral playing, trans-
hes been concentrating on the drumset for his solistic work. ferable to any large ensemble setting, are also taught and
From 1994 to 2014, Christoph Brunner has been a member emphasized. Established in 2001 as a small string ensemble,
of the Collegium Novum Zurich. In 1999, he founded the duo it has expanded to include woodwinds, brass and percussion.
canto battuto (www.cantobattuto.ch) with Eva Nievergelt in It presents five concerts a year.
Erin Gees compositions have cited as subtle and inventive at the DePaul University School of Music in 2012 after
by the New York Times. She has been awarded a Guggenheim having served as an adjunct professor since 2007. He is the
Fellowship, a Radclie Fellowship, the 2008 Rome Prize, the conductor of the DePaul Chamber Orchestra, Ensemble 20+
Teatro Minimo Prize, the Rostrum of Composers Award, the (20th and 21st century music), co-conductor of the DePaul
Gianni Bergamo Prize, and the Look and Listen Prize, among Wind Ensemble, and frequent guest conductor of the DePaul
others. Her work has premiered at the Zurich Opera House Symphony Orchestra. Michael is conductor of the interna-
with her opera SLEEP, with the Radio Symphony Orchestra tionally acclaimed Chicago-based Ensemble Dal Niente. He
Vienna, Klangforum Wien, Ensemble Recherche, the Latvi- attended the 2012 Darmstadt International Summer Courses
an Radio Chamber Choir, Ensemble Ascolta, the Amercian for New Music where Ensemble Dal Niente, under his direc-
Composers Orchestra with a commission from the and the tion, became the first ensemble to be awarded the prestigious
Los Angeles Philharmonic New Music Group under Esa-Pekka Kranichstein Music Prize.
Salonen. She has also worked with Ensemble Surplus, Alter Joshua Modney is a NYC-based violinist dedicated to per-
Ego, Either/Or Ensemble, Wet Ink, Metropolis Ensemble, forming contemporary music, collaborating closely with
Repertorio Zero, Talea Ensemble, Empyrean Ensemble and the composers on new work over extended time periods, and
Vokalensemble Zrich. She was in residence at the Montalvo exploring innovative interpretations of classical music. Joshua
Arts Center and the Akademie Schloss Solitude in Stuttgart in is violinist and Executive Director of the Wet Ink Ensemble
2010. Ms. Gee became an Assistant Professor of Composition and a founding member of Mivos Quartet. Hailed as superb
at the University of Illinois, Urbana-Champaign in 2012. Her and flamboyant, a new-music luminary (New York Times),
first CD, Mouthpieces, was released on the col legno label in Joshua has performed as a soloist and chamber musician at
spring 2013. festivals and concert series across four continents, and was
The Illinois Modern Ensemble comprises students dedicated a featured solo performer at the 2013 Zrich Tage fr Neue
to the performance of contemporary and experimental music. Musik. He has presented hundreds of premieres, and worked
Its repertoire in recent seasons includes works by leading fig- closely with major figures including Helmut Lachenmann,
ures such as Steve Reich, Georg Friedrich Haas, and Augusta George Lewis, Christian Wol, and Peter Ablinger. Collabo-
Read Thomas, as well as a constant stream of new works by ration has long been a focus, and he has developed new large-
student and faculty composers, often featuring technology and scale work with Kate Soper, Alex Mincek, Eric Wubbels, Sam
multimedia. The IME also presents the winners of the annual Pluta, and Rick Burkhardt, among others. Joshua has recorded
Salvatore Martirano Composition Award, an international for Carrier Records, Deutsche Grammophon, hat[now]ART,
contest that draws over 200 applications each year. In 2013 the and Tzadik Records.
ensembles recording of Another Fantastic Voyage by Dmitri Mocrep is a Chicago-based new music ensemble devoted to
Tymoczko was released on Bridge Records; in 2014 the group a radical aesthetic and programming the most adventurous
appeared at the Chicago Cultural Center. contemporary music. Mocrep (pronounced moc-rep) is a
Brian Kane, Associate Professor on Term in the Department flexible ensemble of about 15 young and passionate musicians
of Music at Yale University, received his PhD in Music at UC whose focus is primarily on repertoire from the late-20th and
Berkeley for a dissertation on music and skepticism. He was a 21st centuries. The name Mocrep is derived from the two
Mellon Postdoctoral Fellow in Music at Columbia University most fundamental components of what we are doing: com-
before joining the faculty at Yale. Kanes research explores the position (com=moc) and performance (per=rep). This
intersection of music theory, philosophy and contemporary juxtaposition suggests the equal importance of both compo-
music with a focus on sound, listening, the senses, and phe- nents. This also reflects our eorts to engage and collaborate
nomenology. He is the author of Sound Unseen: Acousmatic with living composers. Their 20132014 season included per-
Sound in Theory and Practice (Oxford University Press, 2014). formances of works by such composers as Sam Pluta, Grard
Publications include writings on Pierre Schaeer, Les Paul, Grisey, Johannes Kreidler, Katherine Young, Toru Takemitsu,
Jean-Luc Nancy, David Lewin, Stanley Cavell, Alain Badiou, Peter Ablinger, Chaya Czernowin, Christopher Jones, Joan
Vladimir Janklvitch, Iannis Xenakis, Mathias Spahlinger, Arnau Pmies, Seung Ah-Oh, and Franck Bedrossian.
sound art, music theory and phenomenology, and musical Simon Obert is a musicologist and curator at the Paul Sacher
aesthetics. Kane is also a founding editor of nonsite.org, a Foundation in Basel, Switzerland. After studying at the Uni-
journal of the arts and humanities. versities of Heidelberg, Zurich, Konstanz and Freiburg, were
Michael Lewanski enjoys a varied career as a champion he received a MA, he was Assistant Professor at the University
of contemporary music and standard repertoire. He was of Basel (were he took his PhD with a dissertation on musical
appointed Assistant Professor of Instrumental Ensembles brevity at the beginning of the 20th century), Visiting Professor
for Popular Music at the University of Vienna and Professor traditional canon and those written this decade, this year, or
for Musicology at the University of Music and Performing this week. The group oers listeners an elastic and absorbing
Arts in Vienna. In his research interests and publications he experience through its Sampler Pack concert format, in which
focuses on 20th and 21st century (both concert and popular) shorter works and single movements are curated in a setlist
music. He is also a co-founder and editor of the Complete containing a menagerie of musical styles, spanning centuries.
Edition of the Works of Anton Webern. Recent albums include Chambers, From This Point Forward,
and Mobile Miniatures (a collection of downloadable ring-
Martin Schttler is composer and performer. He studied
tones, written by over forty composers). The Spektral Quartet
with Thomas Bruttger and Diego Feinstein in Kassel and with
serves as ensemble-in-residence at the University of Chicago.
Nicolaus A. Huber and Ludger Brmmer at the Folkwang
Hochschule in Essen, Germany. His work contains pieces for SUONO MOBILE USA was established in 2012 by saxophon-
solo instruments, orchestra, choir and ensembles, tape music, ist Nathan Mandel and composer Philipp Blume. As part of
sound installations, film music and media art. Most of the the larger Suono Mobile initiative for new music worldwide,
instrumental compositions use electronics or live-electron- Suono Mobile USA is a modular collective, a sort of think
ics, trying to combine the two dierent qualities of physical tank, for presenting and curating modern and new musical
and electro-acustic sound. For his music he received several works, programs, and art/music initiatives.
awards, including the Kranichsteiner Kompositionspreis of the Jennifer Walshe was born in Dublin, Ireland in 1974. She
Darmstdter Ferienkurse 2002. From 2000 to 2004 he worked studied composition with John Maxwell Geddes at the Roy-
as an composer in residence at the ZKM Karlsruhe. His music al Scottish Academy of Music and Drama, Kevin Volans in
has been performed by ensembles such as Ensemble Modern, Dublin and graduated from Northwestern University, Chicago,
musikFabrik and the hr Radiosinfonieorchester Frankfurt. with a doctoral degree in composition in June 2002. Her chief
Martin Schttler teaches music theory and composition at the teachers at Northwestern were Amnon Wolman and Michael
Musikhochschule Frankfurt and at the university of Marburg. Pisaro. In 2000 Jennifer won the Kranichsteiner Musikpreis at
In 2009 his CD Pelze und Restposten was published by the the Internationale Ferienkurse fr Neue Musik in Darmstadt.
Edition Zeitgenssische Musik. In 20032004 Jennifer was a fellow of Akademie Schloss
Anne Shreers research interests include the 20th-century Solitude, Stuttgart; during 20042005 she lived in Berlin
musical avant-garde in Europe and America, with special as a guest of the DAAD Berliner Knstlerprogramm. From
emphasis on the political and ideological associations of new 2006 to 2008 she was the composer-in-residence in South
music. Other research interests include historiography, com- Dublin County for In Context 3. In 2007 she was awarded
posers in emigration, performance theory, and contemporary a grant from the Foundation for Contemporary Arts, New
opera. Topics of recent articles include the political context of York. In 2008 she was awarded the Praetorius Music Prize
Stravinskys Movements for piano and orchestra, the music for Composition by the Niederschsisches Ministerium fr
historians Carl Dahlhaus and Georg Knepler, Varse and tech- Wissenschaft und Kultur. In 2009 she lived in Venice, Italy
nology, and Elliott Carters opera What Next? She co-edited as a guest of the Fondazione Claudio Buziol. She is currently
(with former Harvard graduate student David Trippett) a Reader in Music at Brunel University, London. She lives in
themed issue of the German journal Musiktheorie on Rudolf London and Co. Roscommon, Ireland.
Kolisch in America. Another recent publication is Music Left For over 15 years, the New York-based Wet Ink Ensemble
and Right: A Tale of Two Histories of Progressive Music, in has presented concerts featuring consistently diverse, fresh
the conference report Red Strains: Music and Communism and exciting repertoire. The group has commissioned and
Outside the Communist Bloc, edited by Robert Adlington. collaborated with a broad range of renowned artists, from
Shreer is currently working on a book project, entitled Evan Parker and George Lewis to Christian Wol, Peter
Musical Utopias: Progressive Music and Progressive Politics Ablinger, Weasel Walter, and Zs. Wet Ink most commonly
in the Twentieth Century (under contract with University of performs as a septet comprised of a core group of composer/
California Press). performers that collaborate in a band-like fashion, writing,
Founded in 2010, the Spektral Quartet is widely regarded improvising, preparing, and touring pieces together over long
as one of Chicagos most magnetic and forward-thinking stretches of time. The approach has allowed the ensemble to
chamber ensembles. The groups inclusive approach to concert develop a uniquely exciting performance practice, and Wet
format, shifting the role of audience member from spectator Ink has won praise for its staggering performances (Sound
to ally, has earned it a loyal following within and far beyond Projector, UK), combining striking stylistic and aesthetic
the city limits. Since its inception, the Spektral Quartet has assurance with technical perfection (Dissonanz, Switzerland).
sought out the discourse between the masterworks of the www.wetink.org.
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There Is No Repetition. Mathias Spahlinger at 70 (Chicago 3.2015), Program Book PDF

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There Is No Repetition. Mathias Spahlinger at 70 (Chicago 3.2015), Program Book PDF

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