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C and D continue this aspect. C has a synchronous version of A and B as its opp
osition element D: the highest position, the most violent dynamics and the great
est density (eight-voice, with a remarkable, striking octave doubling, by the wa
y the only one In the entire piece) in C, followed by the radical karmaticity of
the irregular tonal repetitions of the element D. The phase of reflection of th
e exposed material begins at the center of the piece, at bar 7: E and F can be s
een as further variants of C will. The element G, or G ', can be understood as t
he continuation of the reference, which is still embryonic in C, and which has a
lready been contrasted with respect to the line, but emancipated from the subjec
t. The two-part consistency of G has, as a consequence in the other direction, i
ts root in the above mentioned octave doubling. The point of the strictest refer
ence (H as an ideal reversal of A) marks at the same time the abolition of the c
omposition, as if an approximation to the identity would be a crisis Trigger tim
e flow. The contrapuntal method in the last measure may assume a higher rank in
a conceivable hierarchy of essential equations, for example, the recurrence of c
hords in bars 4, 7, and 8. Element A appears, superficially, only in the first a
nd last bar in its motivic characteristic Present - it acts like a staple. At th
e same time, however, all the figurations which follow also refer to A, so that
the image of the figure from the first to the last bar is governed by the whole
piece. At the moment when the structure of his flip side encounters, the play no
longer wants to continue. It strives, in passing through its duration, to its o
wn stopping.
iple, in the orgies of his centenaries, to the permutations of the mobile relati
ons between the bodies to the different bodily openings From solo to intimate, a
s it were chamber music groupings to the great orchestra. The transfer of the or
iginally purely sexual idea of seriality, the object of which was human beings, to the
comparatively uninteresting material of the musical tones, allows the entire co
unterrevolutionary descent of art to be measured. "
[FINAL PARA]
If, on the one hand, the harmonic technique is rhizomatic in the notations pour
orchestre, on the other hand, the piano and the orchestral version also form a r
hizome. The recycling of a youth work is probably not meant as a task of composi
tional claim. This kind of staged relegation of older material into a more recen
t work process proves to be a program: the older, more experienced composer answ
ers the younger one, who perhaps could not yet see the consequences of his setti
ng. This game with the once and now touches but also a basic problem of postmode
rne. Their definitions are extremely disparate and contradictory. If one assumes
that the modem is overcome in it, the liberation from the dogmatism of the mode
m is supposed to be reached, which makes the artist appear to be "uninhibited."
The dream, of not being obliged to return from the duty to return behind once at
tained positions, signifies an attitude which was already skeptical of the modem
. However, modernity is by no means complete with regard to its relevance. If th
e distinction between "modern" and "postmodern" is meaningful at all, it is only
because modernity has owed us its radicalization. This postmodern drugginess wi
ll all too often come under the table. The continuation and redeeming of moderni
sm is posed by Postmoderne as a task - some of this seems to have been successfu
l in the work on notations.