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"Delaere, Mark"
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Eine angewandte serielle und elektronische Musik?
It is well known that Karlheinz Stockhausen and Karel Goeyvaerts were imbued with the Catholic faith. For both composers, the development of serial music primarily arose from musical considerations, but beyond that, the invention of new compositional techniques also constituted an act of faith. Although their relationship to religion was at first essentially a private affair, limited to idealistic conceptions of music as representation of the Divine, both composers began to develop an interest in the functional use of serial and electronic music in the Catholic liturgy around 1955. The present article reconstructs this turn on the basis of recently published mutual correspondence and other archival materials. Included are also analyses of planned (Stockhausen) and realized (Goeyvaerts) mass compositions.
Journal Article
Eine angewandte serielle und elektronische Musik?
It is well known that Karlheinz Stockhausen and Karel Goeyvaerts were imbued with the Catholic faith. For both composers, the development of serial music primarily arose from musical considerations, but beyond that, the invention of new compositional techniques also constituted an act of faith. Although their relationship to religion was at first essentially a private affair, limited to idealistic conceptions of music as representation of the Divine, both composers began to develop an interest in the functional use of serial and electronic music in the Catholic liturgy around 1955. The present article reconstructs this turn on the basis of recently published mutual correspondence and other archival materials. Included are also analyses of planned (Stockhausen) and realized (Goeyvaerts) mass compositions.
Journal Article
Eine angewandte serielle und elektronische Musik? Stockhausen, Goeyvaerts und die musikalische Liturgiereform um 1955 / A Functional Use of Electronic and Serial Music? Stockhausen, Goeyvaerts, and the Music-Liturgical Reform of 1955
It is well known that Karlheinz Stockhausen and Karel Goeyvaerts were imbued with the Catholic faith. For both composers, the development of serial music primarily arose from musical considerations, but beyond that, the invention of new compositional techniques also constituted an act of faith. Although their relationship to religion was at first essentially a private affair, limited to idealistic conceptions of music as representation of the Divine, both composers began to develop an interest in the functional use of serial and electronic music in the Catholic liturgy around 1955. The present article reconstructs this turn on the basis of recently published mutual correspondence and other archival materials. Included are also analyses of planned (Stockhausen) and realized (Goeyvaerts) mass compositions.
Journal Article
E.L.T. MESENS UND SEINE MUSIKALISCHEN BEZIEHUNGEN ZU HOLLAND
As a poet, artist and producer E.L.T. Mesens (1903-1971) was one of the founding fathers of the surrealist art movement in Belgium in 1926. However, before that time his ambition was to become a composer. His piano music and songs show influences by Erik Satie, whose ideas and promotion strategies were adopted by Mesens as well. Creating an (international) network of likeminded composers is one of them, and Mesens was especially keen on developing intense musical contacts with prominent artists and composers from the Netherlands during the early 1920s. Theo and Nelly Van Doesburg, Charley Toorop, Daniël Ruyneman, and Robert de Roos were amongst his most important correspondents. The article presents new insights on the new music scene of that period in Holland, the international and interdisciplinary nature of the movement, the synergy of composition, performance and music criticism, and Ruyneman's idiosyncratic ideas on 'absolute music'. The new information results from studying documents and letters of the Mesens Archives held at The Getty Research Institute in Los Angeles.
Journal Article
Eine angewandte serielle und elektronische Musik? Stockhausen, Goeyvaerts und die musikalische Liturgiereform um 1955
It is well known that Karlheinz Stockhausen and Karel Goeyvaerts were imbued with the Catholic faith. For both composers, the development of serial music primarily arose from musical considerations, but beyond that, the invention of new compositional techniques also constituted an act of faith. Although their relationship to religion was at first essentially a private affair, limited to idealistic conceptions of music as representation of the Divine, both composers began to develop an interest in the functional use of serial and electronic music in the Catholic liturgy around 1955. The present article reconstructs this turn on the basis of recently published mutual correspondence and other archival materials. Included are also analyses of planned (Stockhausen) and realized (Goeyvaerts) mass compositions.
Journal Article
Karel Goeyvaerts: a Belgian Pioneer of Serial, Electronic and Minimal Music
‘From now on, I will accept only Karel Goeyvaerts as my teacher in composition’ exclaimed the young Karlheinz Stockhausen during the famous New Music Summer Courses at Darmstadt in 1951. Goeyvaerts had just explained the very principles of serial organization for which Stockhausen had been searching for some time. In the following years Goeyvaerts 1923–1993) developed those basic principles into variety of composition techniques, and into a stylistic diversity not often encountered in serious music. After having applied serialism to tapegenerated music in the early 1950s and to experimental and aleatoric procedures in the 1960s, Goeyvaerts developed the repetitive element, already couched in some of his serial works, during the 70s and 80s. In his last period, the Belgian composer did not eschew a return to tonality, without however foresaking the core of serial thinking of which he had been the founding father. For many of these tendencies Goeyvaerts was the forerunner; to others he added valuable contributions. Therefore, his artistic legacy should be evaluated against the work of other European avantgarde composers such as Stockhausen or Boulez, or put into perspective by comparing it with the work of his American colleagues such as Babbitt, Carter, Riley or Glass.
Journal Article