Skip to content

Mein Text „On Interpretation“ erschienen

Die Pianistin Rei Nakamura hat zu ihrem großen, seit 2008 laufendes Projekt „Movement to Sound, Sound to Movement // Interpreting Multimedia Piano Compositions“ nun ein Buch herausgbracht.
Darin auch mein Aufsatz „On Interpretation“, in dem ich einerseits einige grundsätzliche Erörterungen zur Interpretation in der Neuen Musik anstelle, im zweiten Teil dann über die Interpretation(en) meiner „Studie für Klavier, Audio- und Videozuspielung“ schreibe, die ich für Rei 2011 komponiert habe.

„Even extremely precisely notated contemporary music needs interpretation. The whole conglomerate of: types of articulation, dynamic ranges, crescendi or ritardandi processes, performance presentation, posture, questions regarding the distribution of the sound in space when using fixed media, the expression of the whole, the quality of the sound, the ability to produce a good, strong sound; all these demands on performers need interpreting. Furthermore, decisions need to be made regarding the derivation of structures from the notes, how to animate the music, translating the style of a piece into a body language—including the ability to find a body language in the first place. Maybe only if an interpreter can appropriate and absorb the music physically, understanding a piece of music can happen.“

Rei Nakamura, Marion Saxer, and Simon Tönies (eds.)
Movement to Sound, Sound to Movement
Interpreting Multimedia Piano Compositions

For many composers today, rethinking the relationship between the auditory and the visual, sound and movement, is a central concern – often connected with (but not limited to) a post-digital perspective on new media. Interestingly enough, the classical piano remains a benchmark for many of those compositions. The essays collected in this volume shed light on the potential and challenges of media-integrated piano composition from a threefold perspective: musicology, performance and composition. They explore the way in which performers deal with conceptual media set-ups (challenges that are seldom taught at music academies), what media integration means for composers today, and the ways that audio-visual concepts change the aesthetic contexts of experience.