8/8/2019 Chris Newman- Darmst

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ChrisNewman

Darmstadt

(meant to be) Itis not that wearecontinually covering newground, butrather that the old ground io constantlydisappearingbehind us our very eyeswhere we are, (facing backwards),Apartfrom the gteen of the ground holding(keeping t off with its greenness)up theIow-hanginggrey of the sl6r,meant to bethinking aboutDarmstadt, thegreenness adiating upwards spreventing the heavy ow-hanginggrey

cloudswith preventing them fromtouching the ground) the fact that I wasmeant to write my personalview of theDarmstadt Summer Course or NewMusic,writing aboutsomethingotherthan about that is cheap,ust chickeningout, or is a genuine artlstic approachor ishoth ? t ' is hnrh '\

evwLL.).

The countrysides wild & outside& weare nside(the train) is like a town & yetthe train is outside n the countryside&we are nside n the outside;Trains un(as f) by chance: t's no[ the ffain's fault

that thesehouseswerebuilt. Themainartistic concerns of a great pieceof musichave nothing to do with the superficialhistorical style of the piece or thecomposerat the time it is written, & yetit is this superficialhistorical style whichhas become he substance,he "concern",of the internationalEnglishnon-descriptsrylecomposerof contemporarymusic; inother words, the work of this composerhas no substanceno heart is allemptiness.That which makes t all themoredisturbing s this: that is, that thebasichistorical srylewhich helshe haspickedup, that is , ExpressionismAlbanBerg), where style s a directrepresentationof highly personalemotion, this sfyle hasbecomeinstitutionalised, the representationofsomebod;i lse'B motionhas become

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institutionalised,& masquerades ow as arepresentationof the personalemotion ofa non-descriptcomposer,& thus all istotally false & never felt. This "non-descript' music consistsof empty reafu-madegestures to fit the falseemotions),which deprive hose composers fexpressingany real artistic concern(s)(even f they could), everything has beensacrificed or the sakeof the gestures(which B,re mpuy);& these empuy

gestures, hie music, can never beimbued with any substanceby the non-descriptcomposer ecausehe n.-d.composerwrltes his/her work as f it werealreadywritten, from the point of view ofthe finishedarticle,& sowhen he,/shewrites t, helshe writes all the musicaway hat he,/shestarted with (intoemptiness),& we're-(they're)-left withnothing. (As the work itself is nothing,the sounds eft over are totallyredundant.)Thus t (the finishedarticle)is unable to transcend what it started

with, its own m&terial,be more than itsown material, transcend tself onto ahigher spiritual level,& thus it cannot bea work of art. (The instrumentation ofsuch pieces s a side-ehow f effects&"good de&s",which remain only effects&"good deas' as such things only can, &have nothing to do with the work. Itremains "insrument&tion" which isseparate rom music, which adds o theredundant nature of the work.) This hasbecome he way to write, what music is,has nothing to do with art, has becomea,neasy& acceptedway for so many to.makea career,with each new genera.tionfeedingoff the previousgeneration &thuBbecomingeven more limited & staletha,n he previous; the differencesbetween he composerswho write thiskind of music are irrelevant).

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