Birkenkötter, Jörg (*1963) von Breitkopf & Härtel

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Seite 5 von Birkenkötter, Jörg (*1963)

o n j Ö rgbirkenk Ö tterjörg birkenkötter is a most alert person without kowtowing to the art industry which so often revels in the superficially spectacular this composer goes his own way with success and deliberate constancy his music is like a cordial invitation to roam through the endless reaches of sensual experience with open ears it sees itself as a constantly renewed invitation to reflect it sensitizes our powers of perception and allows us to track down the subtleties of the particular in what appears to be ordinary it opens up uncommon perspectives which lead us to the heart of the priceless moment while showing us glimpses of vast horizons it takes a definite stance against the strategies of superficial effects and the frenzy of our media-permeated civilization so overwhelmed by sounds and images instead it propagates a measured search for relevance and truthfulness birkenkötter s two teachers nicolaus a huber and helmut lachenmann supported cultivated fostered and furthered what they sensed had long been a part of the young man s intrinsic aesthetic disposition the combination of a virtually seismographic sensitivity for sounds with a structurally oriented analytical-critical compositional perspective whereas birkenkötter tended to explore the inner forces of pointilistic tonal aggregates in his earlier works in his more recent ones he has given more weight to the idea of a process developing in time this idea of process of course has nothing to do with stringent linearity its paths are intricate it arises to paraphrase luigi nono and antonio machado while compositionally moving fragmented events evocative at times of sculpturally hewn splinters are brought into new relationships with one another sometimes the musical ductus begins to liquefy and sometimes it abruptly solidifies but the musical horizon continues to grow little by little and the paths lead onto a landscape filled with possibilities as goethe once put it if you strive for infinity look to every side of the finite what birkenkötter often finds stimulating for his compositional fantasy are ideas of works that are informed a priori by a certain polarity of forces for example by a conflict of perspectives of musical development however work titles such as zur nähe ­ voran spiel abbruch gekippte genauigkeiten or gekoppelt ­ getrennt never mirror a congealment into traditional-dialectical formal patterns such as for example a modern-day variant of the sonata first-movement form the unfolding of a specific work always occurs in a condition of dependence upon the selected materials and upon the areas of interplay which result from the resources of the instruments selected the compositional strategies are focused differently each time and lead to ever new and diverse form-generating adventures in a sense every process of creation of a musical work is regenerated with itself what most of birkenkötter s works have in common is the treatment of familiar or apparently familiar materials but not in the sense of simplistic brainless quotations of a self-service dip into the well-filled coffers of the musical past in a practice that has long since become acceptable in polite musical society birkenkötter vividly propels into our consciousness the fact that the sound of an uncovered trombone or that of a cymbal for example always projects the aura of a greater context along with it he obtains new qualities through a carefully conceived structural integration of traditional moments of intervals tone colors or gestures the sounds are in his own words taken doubly seriously as historically familiar sounds and as sounds that can be physically and acoustically disassembled and thus recomposed and reformulated at the beginning of the piano piece schwebung und strenge 1991 for example formulaic pianistic runs play a role that can be easily identified as virtuoso gestures from many different contexts arpeggiated chords dynamically striking fully 5 on jörg birkenkötter 5