Coriun Aharonian (Uruguay Section). Could we begin asking what and why? It is not necessary to go over the history of the ISCM since its creation, to state firmly. Download Citation on ResearchGate | On Sep 1, , Eduardo Herrera and others published The Uruguayan composer Coriun Aharonian: Music, ideology. Coriún Aharonián (Q). Uruguayan composer. Coriun Aharonian. edit Coriún Aharonian. retrieved. 9 October place of birth · Montevideo.

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A first problem is that we are dealing with Western European categories, and that the point of departure is, inevitably, Western European music history.

Music is itself, as separate shelf, a European concept. And the duality of art music as a parallel language to popular music, with their different codes, is also a European concept. Even the evolutionist career is fundamentally a Western European illness.

So, when we are organising a festival of contemporary art music, or just making contemporary art music, we are taking these unavoidable characteristics as a point of departure. It is not an accident that the more colonised a country has been, the deeper are its roots in the field of an art music of its own, and that the oldest colonised countries have more possibilities of having found their own paths within the present-day creation of art music.

When people in charge of organising an ISCM event feel themselves free to make a capricious programme-planning which reflects their own and personal obsessions, something is wrong in their attitude, and, fundamentally, in their real relation with the spirit from which the ISCM was born. An ISCM ahxronian cannot be a matter of show-business. If something must be sacrificed, it is the predominance of purposes or goals of massive response. There is nothing negative in becoming elitist.

Strictly speaking, every cultural activity is elitist, because it belongs to a more or less closed circle of people initiated in its language and its codes. Some elites can be or can become larger or smaller, but this cannot be a metre to measure their social importance. Even in popular music, a mega-show in a stadium is not at all more important than a normal recital in a small hall. These considerations were evidently not clear to the organisers of the World Music Days in Essen in june-july They had many misunderstandings in their mind:.

The abaronian of the festival was itself a gay manifesto. This could be courageous and positive, but not in the ambitus of the ISCM, an institution that has always tried to respect the right to gender of every corium but has never decided to become an international gay aharinian. So, nobody aharoniqn the right coiun use it for this purpose.

Doriun international jury never received the complete list of compositions entered for selection a list that, even more, did not exist when the jury arrived to do its workthe declaration in this sense of the jury was never officially published and it does not appear in the booklet of the festival in spite of coriuun fact that their names were invoked and used as a validation of the whole programme, and a great part of the compositions chosen was not included in the concerts.

In addition, aharonjan joke was established, to put in the concerts a piece of the same composer which was not the one chosen by the jury and the jury had been selecting particular compositions, not just names of composersor even to present under the same name a different composition which was not precisely that one seen and judged by the aahronian.

A renewal of habits for the pieces out of the jury’s selection could have been very positive. But the possible good intentions – for instance, some homages to great, recognised ayaronian, or the possibility ckriun giving a kind of world compositional landscape – were hidden by lots of junk.

The Hollywoodish nouveau-riche concept of mega-show imposed on the whole event brought as a consequence the neglect of quality and even of seriousness: As the Ruhr area was a survivor of a glorious industrial big development related with coal and iron, many concerts were suffered in dirty and non-musical spaces, very interesting for other purposes but not because of their acoustics and their elementary comfort for listening new music.

For people from the actual Third World it looks extremely ridiculous in a First World rich and powerful country, to expressly exclude or replace good listening places just for fun, or for aesthetic fancy, or for cheap snobbism. A fundamental point must be reminded here: Nobody is obliged either to fill in the requisites of the aharoniwn international organisation if he or she feels that they are not suitable or adequate to his or her own interests.


But once the permission has been asked to the ISCM for the building up of one or another World Music Days, it is obvious that both sides are obliged to accomplish the written rules and corun especially – the spirit of those rules. This is a very central point, because after the Essen deviation, others can feel themselves free to do whatever they want, in spite of all what has been agreed – and this seems to be already the situation in Copenhagen But he was not alone, of course.

The delegates of the different ISCM member countries had no opportunity to recognise any other visible head. In any case, he refused, with an angry look on his face, corlun critics in the General Assembly of the ISCM, and left the place in a temper.

He could have done everything alone, or together with his friends.

WHAT ARE WE DOING? – Coriun Aharonian | ISCM

Something must be cleared up once and for all: It is clear that all these difficulties were not an unavoidable conditioning of the host country: Like Austria infor instance, with the visible head of the late Wilhelm Zobl.

No one of these names was using the ISCM fa! In Essen, disregarding any common sense, orchestra concerts were considered the first rate activities, according to the layout of the programme book. There is no serious possibility of sustaining such an absurd presentation of facts. If the traps for massification have as a purpose an educational goal, this was cancelled by the way compositions were visually presented in that book and the complementary printed matter is Webern’s opus 11 less important than his opus 31?

In addition, the major part of the orchestra concerts were tricky, full of “old” and “very old” compositions included with the apparent intention to attract multitudes what for? Let us now point out some of the many remarkable aspects of the Essen World Music days I personally would like to stress some very important moments: After enjoying no less than 8 ISCM festivals, including number 67 – ‘The Ruhr Gebiet ‘, I expect at least 8 general ideals to be realised in the future festivals!

In ‘The Ruhr Gebiet ‘, only 3 out of 10 internationally symphonic works chosen were performed. The fact that these three works – Chaya Czernowin’s ‘Amber’, Jo Kondo’s ‘A Shape of Time’, Peter Eotvos’ ‘Psychokosmos’ – were good enough as music, and that the public enjoyed their expression and style, proves that the Essen Committee was wrong not to use the other works chosen. Instead of the other 7 symphonic works, 6 chamber music works by these composers were performed, and 1 composer was thrown out!

Out of 5 electronic works, only 3 were done! The 2 ‘recommended performances’ were thrown out! Out of 16 chamber music works only 6 were performed. From 8 works for chamber orchestra, 5 were performed, 3 were thrown out!

This was quite a shame. But the fact that this festival presented in 8 symphonic concerts: Another impressive point was that from each of the first 8 decades of our century 3 to 7 good works were performed 23 composers, 26 works34 works from the ‘s, and from the present decade no less than 85 works were done 8 from !

Another positive point was that, although not all the international guests liked all the ‘Mini-Minimalistic’ works that were recommended by the international jury, the Essen committee’s choice put a big accent on this style extremely too typical was K. Shim’s work for flute and string quartetand a beat on other styles!

Coriún Aharonián

We can also expect to be reminded of the existence of representatives of more ancient generations, whose music changed a former style! This year the portrait was good enough. Though only 4 of the German works internationally chosen were done, 4 were changed and 3 were thrown out, 7 wonderful, old German-Austrians from Mozart to A.

Berg were added, and 14 contemporary composers including the famous M. Henze, but missing important ones like K. Still, works like ‘Diastasis’ W.

Coriún Aharonián – Wikidata

Zimmermann’Resonanzen’ Th. As not all the composers received detailed coverage in the program book, maybe there were even more Germans. Unforgettable hosts like the wonderful ‘Arditti Quartet’, the excellent violinist Mieko Kanno, the B. Real perfection will be achieved when all of the ISCM membersl as well as ‘poorer’, non-member countries are included!

Almost parallel to the subject of international composers should also be that of international performers, whose rules must be – a works from their country, b works from the host country and c works from other countries. This year, after the Essen committee threw out some wharonian the internationally-chosen works and members, they added 10 members 24 ISCM members were presented! Each composer chosen must have in it a concise biography on music and career developments, point of view, corinu and place of birth death and citizenship.


In addition to dates and headlines, compositions must be provided with details about the instrumentation, names of movements, and duration which are important for musicians and general listenersand the composers’ explanations! Performers of all kinds must also be provided with biographies.

In complicated programs that use more ahaornian one performer for the same instrument, aharoniwn different performers’ names should accompany other details about the work.

Pages of scores, composers’ and performers’ pictures, and even some paintings ‘parallel’ to the music styles, should also be included in it! This year the program book which was, apart from six nice opening ‘preludes’, completely in German, and was visually nice and also meaningful in its concerts’ titles, was quite far from perfect in all the above-mentioned ideals and caused many problems for non-Germans!

To attract new audiences, some street and park concerts should also be produced, as well as concerts in all types of museums. Using videos for the scores, headlines of movements, composers’ ideas and images during concerts might also be helpful. Full concerts of improvisations and even just as parts of normal concerts might also attract new audiences!

Since I have heard many contemporary operas in German opera houses like Berlin, Hamburg, Frankfurt, Stuttgart, Munich and Cologne, and also enjoyed ballets with modern music in them and in Pina Bausch’s Wuppertal Dance Theatre, I was astonished that none of them were invited to this festival! But at least from an unconventional point of view, it was unbelievable how many unaccustomed concert styles and places, frequent occurences of long durations, rich lighting effects and ‘dramatic’ use of changing spaces and accoustics there were in many of the concerts.

Ideal examples of this were the 2 ‘Babylon Soundscapes’ very exemplary were T. Hosokawas’ ‘Super Flumina Babilonis’ and L. Ayaccuho’the opening chamber music concert that expanded the meaning of solo and chamber music with works by H. Kurtag’s works, giving excellent proof that ancient musical points of view should join and enrich our new ones, as well as several other concerts.

And because there is proof that young students naturally understand the music of their own generation the Cologne Hochschule was a good example in the ISCM festivalthey should be asked to perform music by their friends and teachers! Though I am sure that there are many more modern German soloists, ensembles and orchestras than the ca. The unpleasant cuts during the opening concert, which happened because the conductor of the Essen Philharmonic fell ill, became a ‘prophecy’ that some new technical problems would arise!

Corriun was unbelievable that the Viennese KlangForum’s instruments and the parts to the scores did not arrive in time for their concert. But they still played very well with new instruments!

The train timetable caused problems in being on time for the attractive ‘Matines Electroniques’ in a good hall in the Folkwang Hochschule – in which the excellent, resourceful ‘overture’ was ‘Unknown Journey’ by Joshuha K. Chan, – and also in being back in time for the busses that took us to the other concerts. The fact that the bus drivers did not study enough the best ways to the different concert places, and that the timetable of the busses, which did not really need a long time to bring us to the afternoon concerts, increased the problems at lunchtime like taking a short, necessary rest before the long, positive Music Day.

Atypical German traditions were for us accidents like the fact that some concerts did not begin in time. In some concerts the order of aharoniaj works was changed, and some were not performed. One or more concerts was cancelled, and ‘Epitaphs’ by Albanian T. Simaku was performed on tape instead of by young musicians from a school and institute Folkwang Hochschule that presented a serious and a promising, futuristic part in the festival!

Good and in almost complete contrast to the former cotiun details, were the technically great successes with extremely complicated and unusual use of spaces, lights, acoustics in the six out of coriyn very long symphonic concerts, and also in quite a few of the chamber concerts, which were performed, generally, on a high level.

These concerts attracted quite a lot of adult and young listeners – 12,? Varese, Luigi Nono, etc. One of the main aims of those who gave money to the festival was to develop the ‘Ruhrgebiet’ into a European ajaronian center.