Martin Hiendl

Here are the videos of Leslie Leytham’s performance of my new piece.

A good performance must trust the score under any circumstance.
Academia creates standards that prevent people from participating.
Academia has nothing to do with music.
Academia tries to anticipate quality.
Analysis is limited.
Appreciation is necessary to a certain degree.
Art is contingent and accessible.
Beauty is only one of many descriptions.
Beauty is the specific relations I draw to certain music.
Boundaries are sources of creativity.
Changes of musical material through history are a product of fashions.
Communication is a miracle.
Composing should have lightness.
Creativity is unique.
Descriptions are tools.
In rare moments, the gaps between composing, improvising and performing disappear.
Inspiration is a promise I cannot describe yet; finding the description is composing.
Inspiration is an appetite for a sound.
It is impossible to preserve the initial promise through the compositional act; even the best results remain referential.
It is vital to inquire yourself about what you want to create.
Joy in listening comes from gaining familiarity.
Letting the student do whatever she wants is the most taxing way to teach.
Music can express things that no other system can.
Notation is not a neutral extension either to sonic imagination or to sounding music.
Notation is quantized imagination.
Originality is unavoidable but nothing to be proud of.
Pluralism creates apathy.
Professionalism arises from predictability.
Professionalism is the opposite of experimentalism.
Quality is to be questioned.
Sounds can lose all relations and strike me with their intense beauty of existence.
Sounds can only exist within the constraints of time.
Sounds do not have an ideal form.
Sometimes inspiration can be created.
Sonic ideas come with a formal suggestion.
Successful compositions are concise throughout all descriptive systems.
Technique is temporary but necessary.
The gap between a process and the sonic details can be powerful or misleading.
The importance of craft is waning.
The only thing I have found inspiring in teachers was their character.
There are irreconcilable gaps between imagination, score and sound.
There is no ambition to create without someone to address.
There is no independent sonic truth behind a score.
There is no inherent trajectory within musical material; decisions are made by subjects.

MH (2010)

Check out my new piece for solo voice. It’s called “Erwartung und Traumverlust”.

Score: Erwartung und Traumverlust (pdf)

Leslie Leytham is going to premier it on January 22nd 2010 in CPMC Concert Hall at UC San Diego.

The piece is part of the opera I’m writing on right now for an opera project of the Frankfurt University of Music and Performing Arts. Four composers write a short opera based upon the same novel by Ryunosuke Akutagawa. The whole project will be premiered in October 2010 and Beat Furrer will conduct the International Ensemble Modern Academy.

Source:

http://de.wikipedia.org/wiki/Pierre_Boulez

(yeah!)