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HISTORY / ARTISTIC FIELD

 

In this section, I address the historical context in which I find myself regarding the context of precarity in music and composing with spectral analyses. Furthermore I put my BOOK OF CHORDS into the context of writings about musical language, musical composition, and ideas in general. Moreover I try to line out a context of literature that starts with "Book of".

In the end, I present an artistic work related to the general environment of my composer and musician colleagues that I created 2022/2023 for the 50th anniversary of the Ernst von Siemens Music Foundation - the DAUMENKINO.

CONTEXT precarity in music

 
Historically precarious moments in music are nothing new, even though they shift in their characteristics. I think of the Roman and Venetian multichorality of the Renaissance that implemented up to 12 different groups that were situated far away from each other in all corners of the church, sometimes even all the way up in the St. Peters Dome of Rome. There has always been the blades edges when it comes to virtuosity – Paganini or Liszt must have felt a stronger need of virtuosity than the one of showing off.
The breaking point for my personal sense of precarious writing though is Mahlers Contrabass solo in his 1st Symphony in the 3rd movement. Even today it is a precarious part, it must have been utterly precarious back in the times. Has there ever been a contrabass solo in that height before? The precarity is multiplied with crossing the precarity with a simple melody – Bruder Jakob – though in minor. A loaded phrase that even points to later upcoming conceptualism.
Looking closer in the near past I come to think of Brian Ferneyhough, who with his almost utopian rhythmical writing puts the performer on the edge of concentration and therefor creates a very intense situation in the concert hall. As contemporaries I think of Marianthi Papalexandri-Alexandrini who with her works for motors and instruments implements totally new ways of writing and by that explores the expressions of performance. I personally remember her piece Yarn, presented at the Darmstädter Ferienkurse 2008, most vividly where two string instruments are tied together with fishing line and by that become a new percussive instrument that forces heightened sensitivity among the performers and a very particular form of listening and bodily reaction.

What interests me with precarious situations is that the music is given a certain autonomy, it almost steps into dialogue with the musician - finding out possibilities of how to play, interprete and react in certain moments of uncertainty. Something that I try to build into my orchestral music with small details. In orchestral music, a derivation from the norm can already be crucial. Here I use the choreographical conducting, extreme registers with some uncertainty in execution, extreme and many tempo changes and different listening perspectives inside the instrumentation to name a few. In my chamber musical composition there are the motorised instruments that create imperfection, dependencies and a visual moment, congruent or incongruent to the music. I also use extreme registers and timings and lately like in the piece of VANILJ for two e-guitars (one of them singing) from 2023, i try to use unconventional dynamics in the sense that sometimes you can only see how one of the guitarists sings, while the other one is letting him/her drown. Those are violent pictures in my ears and eyes and carry a certain precarious expression - even though it's not precarious in execution. Also there is a precarious moment for the composer as it's not clear if it's really meant like this - to not be able to hear the singing. More and more I am taking in the element of singing, even when the musicans aren't used to sing, or espacially then. It can cause a fragile moment of beauty and humankind I believe.  
Also humming has been prominent in my orchestral writing. Unfortunately, at times, it is quiet complicated to achieve, as orchestra musicians might have the right for extra fees playing an "extra instrument". Extra fees for every rehearsal and every concert are around 300 Euros. Which mutiplied by lets say 60 players, multiplied by 4 (three rehearsals, one concert) makes a sum of 72 000 Euros. I understand that it's not possible. And it's also not the case for all orchestras. But I have started to leave the humming optional even though it feels quiet essential to me.  
CONTEXT Spectral Analysis

In search for expressions in amateur choirs, analysing the spectra and using those for composition I see myself in a historical context of sepctral music. I prefer to talk about "using spectral analyses for composition" as I feel spectral music also sometimes is understood as a certain aesthetic but for me it's simply a style. 

But I am going to try to outline a context in that aspect to make clear where I am standing.

OLIVIER MESSIAEN *1908 - 1992

As a great grandfather of my work in terms of analysis, I see Olivier Messiaen with his analysis of bird songs that enriched his work vividly and which stands for material that then has been used to go into dialogue with.

- I analyse and go into dialogue with my material, transform it.

 

GÉRARD GRISEY *1946 - 1998

As a grandfather I see the work by Gérard Grisey, working with the programs by the Ircam (Institut de Recherche et de CoordinationAcoustique/Musique), focusing on spectral overtone series. 

- I work with the same programs and there is a certain focus on spectral overtoneseries, but I am less rigorously. 

 

PETER ABLINGER *1959

As a father, I see Peter Ablinger working with analysis of concrete sounds, immitating voices or different noises.

- I also in some sence try to immitate voices, but it's less concrete. I am longing for flexibility and dialogue with the material.


GEORG FRIEDRICH HAAS *1953

Also as a father, I see Georg Friedrich Haas. Besides the fact that we are working with the spectrum in our music, I see our goals as very close, as for him writing is also about expression or even more - emotions: His aesthetics is guided by the idea that music is able "to articulate a human being's emotions and states of the soul in such a way that other human beings can embrace these emotions and states of the soul as their own." 1


For me it's not clear if he means his own emotions or emotions in general. And I guess we might mean the same thing with emotions and expressions (he talks about emotions, I talk about expressions) but I feel the word expression is more detached from myself. I can relate to the expressions, but they're not neccesarily part of my emotional world at the moment I am writing. What I am seeking for is to create contrasting expressions to create certain gaps where the listener can step into the expressive world where he/she, in my wishful thinking, can bring his/her very own emotions and life experiences to a living and thereby feel a connection to humans - musicians and listeners inside and outside the room.


More composers have to be named in the context of spectral music - Tristan Murail, Hugues Dufourt from France, Julian Anderson, Jonathan Harvey from the UK, Joshua Fineberg and Claude Vivier from North America, Per Norgaard from Danmark, Magnus Lindberg and Kaija Saariaho from Finland and Horațiu Rădulescu from Romania. And many more are there to find, but I keep the reference to the upper four, as they have for me the clearest lines to refer to and have had a great impact on my writing.

In my analyses of spectra, my main focus is on searching for expressions. This expression can manifest itself in my ears within the spectrum. I compose with spectral analyses of special intonations of known material, in mostly amateur performances including the human voice.


What am I mainly looking for in comparision to f.ex. Grisey or Ablinger?

       - Special moments of imperfection which shed a new light onto the known
       - Amplifications of Expressions 
       - To base my material on people
       - To create a material that is aware of its expiration date (due to it's referential character to harmony)

I start my process with ”objets trouvées” from performances of any kind of voice material (mostly amateur choirs), to be found on the internet. In some sense they're concrete and I am close to Ablinger I feel. But the ”objets trouvées” are always voices, and have hearby certain characteristics, like an instrument has too. I analyse those and use the vertical information. Grisey on the other hand, uses in his piece Partiels for 18 instruments (1975) the analysis of a fortissimo trombone E2 and tries to use all the information, both vertical and horizontal (when are which partiels entering in time). So in some sense he immitates the material (of course the work transcends above an immitation but I am only talking about the method here).
I am also immitiating the material but I am also manipulating it and searching for the partiels that are most crucial for the expression and amplify those in my instrumentations. So there is a certain communication with the analysis and a reinforcement of a particular expression. 

 

I believe I have many brothers and sisters working with spectral analysis in one way or another. But it seems it is not the most essential that it’s spectral. The ideas and visions are diverse and that the music is in some sort spectral or works with a spectral analysis as a starting point has become more a question of style and craftsmanship than the essence of a musical language I believe. There are I believe diverse aesthetics and musical languages, within the style of spectral music and working with spectral analysis, in one way or another. 

To name a few of my brothers and sisters who work with spectral analysis in a more or less prominent way: Mark Andre, Marco Stroppa, Philippe Leroux, Christopher Trapani, Rebecca Saunders, Aaron Einbond.

CONTEXT of writing and unfolding musical language and ideas in book form

 

In the following, I am trying to sketch an historic context for my book BOOK OF CHORDS. This doesn't seem too obvious as the method of making the book was very different from the making and execution of existing books of musical languages I believe.

My BOOK OF CHORD is clearly a catalogue but I hope it's much more than that. I hope it is an insight to my musical language and that it can be of use for professional musicians to read my music, that it can be useful for composers to use the chords or think about expressions in chords from different angles and that it can be useful for laymen to dive into the essence of my music and moreover to have a musical experience reading the book despite the fact not hearing something acoustically.

Even though I am using a catalogue form (consisting of chords, photographs and poems) for letting the reader into my musical world and essential material, I hope I unfold the essence of my musical writing, just as the explanatory books do that I will outline in the following text to anyway contextualize the book in the music historical context of writing about musical language. Moreover the BOOK OF CHORDS is meant for both professionals and laymen, which isn't neccesarily the case with books from the past, writing about musical language.

 

In the vast landscape of music, composers, theorists, and scholars have long been captivated by the nuances of musical language and expression. From the intricate interplay of melody and harmony to the subtle nuances of rhythm and timbre, music offers a rich tapestry of sonic elements through which composers convey thoughts, expressions, and ideas. Catalogues, whether explicit or implicit, play a vital role in documenting, analysing, and understanding the diverse expressions of musical language.

At its core, a text about musical language serves as a repository of musical elements, techniques, and idioms employed by composers across different styles, genres, and historical periods. Such books may take various forms, ranging from theoretical treatises and textbooks to analytical studies and thematic catalogues. One of the earliest and most influential book of musical language is Johann Mattheson's Das Neu-eröffnete Orchestre (1713), which provides a comprehensive survey of musical instruments, forms, and performance practices of the Baroque era. Moreover there can be mentioned Jean-Philippe Rameau (1683–1764): French composer and theorist known for his influential treatises on harmony, particularly Treatise on Harmony (1722), in which he presented his theories on chord progressions and tonal harmony. Heinrich Christoph Koch (1749–1816): German composer and music theorist who wrote several treatises on music theory and composition, including Versuch einer Anleitung zur Composition (1782), which provided a systematic approach to musical composition. Hugo Riemann (1849–1919): German music theorist known for his contributions to harmony, form, analysis, and musicology. His works, such as Handbuch der Harmonielehre (1880), are influential in the study of tonal harmony. Arnold Schönberg (1874–1951): Austrian composer and theorist who developed the twelve-tone technique and made significant contributions to music theory, his "Harmonielehre" is considered a seminal work in the field of music theory, revolutionizing traditional tonal harmony and paving the way for new methods of composition. 


All these books have in common that they have an explanatory character and focus on technique.


In addition to documenting the building blocks of musical language, these books can also delve into the realm of expression, exploring how composers imbue their music with meaning, emotion, and intentionality. This aspect is particularly evident in the writings of composers themselves, who often articulate their creative processes, aesthetic ideals, and interpretive approaches in letters, essays, and memoirs. For instance, Olivier Messiaen's The Technique of my Musical Language (1944) offers profound insights into the composer's idiosyncratic harmonic language, rhythmic innovations, and religious symbolism. It can be considered as a sort of catalogue despite it may not be structured like a traditional catalogue with lists or categories. The Technique of my Musical Language serves as a comprehensive guide to understanding Messiaen's distinctive musical style. It provides insights into his compositional process, allowing readers to gain a deeper understanding of how he approached composition and organized musical materials. In this way, it can be viewed as a catalogue of sorts, cataloguing the various techniques and principles that define Messiaen's musical language.

This book has been dear to me throughout my studies as it felt very personal and thereby couragous and open. It unfolded his musical language and essence without hiding anything or being shy about certain topics like religious symbolism. Something that has been my premise while writing the BOOK OF CHORDS.
 
Gérard Griseys Tempus ex Machina: A Composer's Reflections on Musical Time is a profound exploration of musical temporality authored by the influential contemporary composer Gérard Grisey. Compiled posthumously from his lectures, essays, and interviews, this book offers profound insights into the fundamental role of time in music. Delving into the perception, manipulation, and significance of time in composition, Grisey draws from diverse disciplines such as philosophy, physics, and anthropology. Published after his passing, Tempus ex Machina serves as a testament to Grisey's intellectual rigor and enduring legacy, offering readers a philosophical journey that challenges conventional notions of musical time. 

What personally touched me were his analogies to the human body in the headings "the skeleton of time", "the flesh of time", and "the skin of time". I can relate to these headers very well and could translate those in relation to chords. Which made me follow my idea of the water pictures adding to the chords, trying to transmit in a visual way the quality and expression of a chord, felt on the body - like diving into water.
 
John Cage's "Indeterminacy" (1959) could be seen as a catalogue in the sense that it presents a collection of discrete ideas or vignettes, each representing a distinct conceptual or sonic entity. In the book/piece, Cage presents 90 stories, each precisely one minute long when read aloud. These stories cover a wide range of topics, from personal anecdotes to philosophical musings to observations about everyday life. Each story is self-contained, existing independently of the others, much like entries in a catalogue that can be browsed individually. I can see the book/piece viewed as a catalogue of John Cage's ideas, experiences, and experiments with form, offering readers a diverse array of insights into his creative process and philosophical outlook. A for the listener/reader/perfromer intuitive piece of art that feels like an artwork and a reflection to the approach of composition at the same time.
 
In conclusion, works about musical language and expression serve as invaluable resources for composers, scholars, performers, and listeners alike, offering insights into the diverse and multifaceted world of music. Whether documenting historical practices, articulating aesthetic ideals, or analysing contemporary innovations, these catalogues provide a window into the creative process and expressive potential of music, enriching our understanding and appreciation of this universal art form.

In that sense I hope the BOOK OF CHORDS will add to the existing pallete of books of different musical languages, despite it's different way of unfolding.
 
I also browsed in other art forms for some sort of artistic catalogues - one could argue that Point and Line to Plane (1926) by Wassily Kandinsky shares some characteristics with a catalogue, albeit in a metaphorical sense. While the book does not present a comprehensive inventory of specific items or artworks, it does systematically catalogue Kandinsky's thoughts, theories, and observations on the nature of abstract art. Each chapter could be seen as a distinct entry, exploring different aspects of visual language, such as the symbolism of geometric shapes or the psychological effects of color. In this sense, the book organizes and presents Kandinsky's ideas in a structured manner, akin to the way a catalogue organizes information. However, it's important to note that Point and Line to Plane is more than just a catalogue; it's a rich and thought-provoking exploration of abstract art theory that delves into the philosophical and spiritual dimensions of artistic expression.
 
The word "catalogue" also makes me think of the word "collection." For example, fashion collections, and more specifically, presentations of fashion collections. Here, I'm thinking of the expressive fashion shows by Karl Lagerfeld or John Galliano. They often structured their shows around a central theme or concept, which could be inspired by anything from art, literature, history, or current events. Each section of the show would reflect a different aspect of the theme, showcasing a range of designs and styles.

What this way of presenting has in comon with the BOOK OF CHORDS is that there are no explanations while presenting the collection. Just different means to express them - models, clothes, makeup, place, scenery and music.  
 
It also makes me think of catalogs in Library Science, archives and special collections, museum collections, and scientific research. However, here it is mostly about listing the most important keywords and facts. The essence of a work is generally not communicated.
 
It was important for me to document this catalogue of mine and unfold the essence of my musical language. And at the same time, to consider it as a work of art or maybe even a piece of music. One, where the reader, observer, or inner listener can gain a deeper insight into my music, or ideally, can connect their own sounds through image, chord, and text. The book is intended to be both practical and artistic in nature, meant for musicians as well as laypeople. My aim was to convey the essence of these chords as immediately as possible without delving into explanation. Therefore, it is not a musicological text but an attempt to translate the expressions of these chords in various ways to make them understandable and, ideally, empathetic. To come back to Haas': "to articulate a human being's emotions and states of the soul in such a way that other human beings can embrace these emotions and states of the soul as their own," 2 without actually hearing music. A reduction, as it lacks sound, yet an enrichment, as it is viewed or expressed from additional perspectives.
 
Historically, I see myself, regarding the BOOK OF CHORDS, between Messiaen's Technique of my musical language and John Cage's Indeterminacy. On the one hand, I try to document the essence of my musical language, similar to Messiaen, albeit with different means. On the other hand, I aim to create a piece of art in which the reader can wander freely and create their own auditory image from the components - notes, images, and texts. These are often open to interpretation and vary depending on the reader's familiarity with reading music and internal hearing. However, I hope that despite this gap, they can still be empathized through the graphical forms that the notes create in the spectrum, as well as through the images and texts.
 
In this sense, I was very much influenced by Janne-Camilla Lyster's work Koreografisk Poesie (choreographic poetry), which consists of eight literary scores for dance: poetic texts written and structured to be read as dance. I was also influenced by Ane Thun Knutsen’s documentation of her work The Mark on The Wall, an adaptation of the first short story Virginia Woolf printed and published on her own press, written while she was teaching herself typesetting. "The installation is set with loose types, and the text is reproduced in its entirety on 1837 prints. It reflects on how setting and printing influence thought and writing, like a fluctuating pendulum between the spirit that writes and the hand that sets. Following the exhibition, all prints were taken down and bound chronologically in one massive book, including a documentation photo from the exhibition." 3
 
Neither of these books are exactly what I wanted to do, but it gave me the courage to do something that has a very open form and the courage to create a hybrid between documentation, reflection and artwork. And to write with ”white ink”. 4

CONTEXT of "Book of's"

 

Finally, I would like to briefly mention something about the title that begins with "Book of", which of course is a reference to the well-known "Book of" titles. "Book of Genesis", the first book of the Hebrew Bible and the Christian Old Testament, detailing the creation of the world and early history. "Book of Psalms": A book of poetry and hymns found in the Hebrew Bible and the Christian Old Testament, traditionally attributed to King David. "Book of Matthew, Mark, Luke and John": The four books of the New Testament in the Christian Bible, presenting the life, teachings, death, and resurrection of Jesus Christ, each presenting a different perspective on the life and teachings of Jesus Christ. The Book of Five Rings by Miyamoto Musashi: A classic Japanese text on martial arts strategy, written by the renowned swordsman Miyamoto Musashi in the 17th century. The Book of Tea by Kakuzo Okakura: This text is widely regarded as a classic work on Japanese culture and aesthetics, exploring the philosophy and rituals of the Japanese tea ceremony. The book of Laughter and Forgetting by Milan Kundera. The Book of Disquiet by Fernando Pessoa: While Pessoa's work was not widely known during his lifetime, The Book of Disquiet has gained recognition as a modernist masterpiece, showcasing Pessoa's unique literary style and existential reflections. The Book of Salt by Monique Truong: This novel offers a fictionalized account of historical figures Gertrude Stein and Alice B. Toklas, blending elements of culinary history, identity, and cultural exploration. The Book of Lost Things by John Connolly: A fantasy novel that has garnered a dedicated readership for its imaginative storytelling and inventive reimagining of classic fairy tales.

 
While the specific content and themes of non-religious books with "Book of" titles can vary widely, there are some common characteristics or themes that often emerge
 - Exploration of Ideas: Many "Book of" titles delve into philosophical, cultural, or existential themes, offering readers insights into the human   condition, society, or the nature of existence.

  1. Narrative Structure: Some "Book of" titles feature non-linear or fragmented narratives, incorporating multiple perspectives, voices, or storytelling techniques to create a rich and multifaceted reading experience.

  2. Interdisciplinary Approach: "Book of" titles often draw upon multiple disciplines or areas of knowledge, blending elements of literature, history, philosophy, and other fields to explore complex ideas or themes.

  3. Reflection and Contemplation: These books frequently invite readers to reflect on their own thoughts, beliefs, and experiences, encouraging introspection and contemplation of deeper truths or meanings.

  4. Symbolism and Allegory: Many "Book of" titles employ symbolism, allegory, or metaphor to convey their themes, inviting readers to interpret and uncover layers of meaning within the text.

  5. Cultural Exploration: Several "Book of" titles explore cultural traditions, practices, or perspectives, offering readers a window into different societies, historical periods, or ways of life.

  6. Artistic Expression: These books often serve as vehicles for artistic expression, showcasing the author's creativity, imagination, and literary craftsmanship.


While these characteristics are not universal to all "Book of" titles, they highlight some common threads that run through many non-religious books with this particular naming convention. Each "Book of" title is unique, but they often share a depth of thought, a richness of narrative, and a capacity to provoke thought and reflection in their readers. With this said, I want to point out that conversely the BOOK OF CHORDS and the content feels existential to me. What it might give to the reader I am not able to say. But I hope that it conveys some of my musical thinking and that the reader might get used to reading spectral chords and see the essence for rehearsals more quickly. If moreover the reader could experience it for him/herself as a personal piece of music or an art work that can be read in different ways I would have reached my entire goal.

GENERAL CONTEXT

 

DAUMENKINO - a flipper

 

DAUMENKINO is a row of sketches by various prize winners of the Ernst von Siemens Music Foundation. 5 I was looking for personal fingerprints to trace the individual personality and style of the award winners.

Who watches the DAUMENKINO can take a brief look, a staccato glimpse at the worlds of work and thoughts of the prize winners. It offers an insight not normally given in the regular concert setting.

These very personal treasures have moved me deeply and seldom have i felt so close to my music colleagues as when compiling these sketches.

The composing of a piece of music and its being performed have sometimes been compared to leap into cold water. As if it was all about avoiding a false step, as if life in a limited stretch of time depended on you finding the perfect take-off bounce to land the right tone. 

 

But in the end – let’s be honest about it – we dive into a well-tempered pool.

 

In this work for the 50th anniversary of the Ernst von Siemens Music Foundation, I gained insight into sketches of composers and musicians related to their works and scores. I obtained a very personal perspective, and through this work, I learned that the moment of daring, or the moment just before, connects us all. I also found a large amount of love and curiosity in the sketches and marks of everyday life.

I was sent about 3 - 5 sketches by 55 composers and musicians who had received either the Ernst von Siemens Music Prize or the Ernst von Siemens Composer Prize. And for a couple of weeks I tried to find the most captivating angles on details in these sketches. I was looking for details that we usually don't see in scores and that felt unique for the respective composer/musician. 


These sketches are interrupted with stills from a video of a boy who hesitates to jump into a pool. I alternately juxtapose them, creating a small flipbook in which one can see the boy's hesitation before jumping into the pool. The sketches and annotations shimmer like ideas in between. One can also read the flipper slowly page by page. I see this work as a small glimpse into what connects us as composers and musicians, and probably also as human beings in general - having an idea in mind and the fear of failure. Because what all these sketches had in common was a sense of search, curiosity, and a certain hesitation simultaneously present.


The composers and musicians present in this work are: Francesca Verunelli, Simone Movio, Georges Aperghis, Lin Yang, György Kurtàg, Tabea Zimmermann, Michael Pelzel, Alfred Brendel, Oliver Schneller, Johannes Maria Staud, Claus-Steffen Mahnkopf, Charlotte Seither, Luis Codera Puzo, Márton Illés, Christian Mason, Andrea Scartazzini, Rebecca Saunders, Simon Steen-Andersen, Ann Cleare, Markus Hechtle, Sara Glojnaric, David Hudry, Naomi Pinnock, Chaya Czernowin, Timothy McCormack, Alexander Muno, Arnulf Herrmann, Helmut Lachenmann, Karlheinz Stockhausen, Catherine Lamb, Beat Furrer, Moritz Eggert, Gordon Kampe, Eric Wubbels, Wolfgang Rihm, Elliott Carter, David Philip Hefti, Pierluigi Billone, Herbert von Karajan, Friedrich Cerha, Ulrich Kreppein, Pierre Boulez, Olga Neuwirth, Mirela Ivicevic, Henri Dutilleux, Fabien Lévy, Miroslav Srnka, Annesley Black, Clara Iannotta, Olivier Messiaen, Mark Andre.

Video used in the DAUMENKINO

© Leonard Streich