88 Do we listen with different ears? Part 02

Voyage of discovery into german-french music (in German only) - Part 02

(in German only)

Last year, 50 years of the Elysée Treaty and thus 50 years of Franco-German friendship were celebrated on both sides of the Rhine. We asked ourselves, how is this friendship in music? Do we understand each other? Do we have something to say to each other? Or are there rather national differences in music? Strangely enough, people often still argue with old clichés. Music from Germany is considered heavy and cerebral, French works are praised here in Germany for what is well done, the écriture, the perfect craftsmanship, but the works often seem to sound empty to German ears. Are they simply not understood? Can their code not be deciphered?

Where all this comes from will be questioned in a new series of talks at the Institut Français Berlin. Composers and musicologists, programme-makers and music experts will talk about the most popular clichés, the most fruitful misunderstandings, the most important similarities. What was so important about the difference between a harpsichord and a clavichord, and what consequences does this still have today? How much French is there in Wagner and to whom does electroacoustic music belong?
So-called New Music is essentially a genre that has its roots in France and Germany or developed in the field of tension between German and French references. The series of talks will outline the most important similarities and contrasts of this Franco-German musical history. But it will also highlight differences in education, musical practices and aesthetics that make it necessary to translate different codes from one country to the other.
The evenings will be moderated by film director and author Uli Aumüller (inpetto filmproduktion), who has just completed a film portrait of Mark Andre. Music and film samples will help shape the evening, and the ensemble KMN Berlin will play.

An event of the Institut Francais and Impuls Neue Musik

Two countries, two musical cultures. But what are the similarities and differences between the German and French musical landscapes? What is the significance and importance of classical and contemporary music on both sides of the Rhine? Is music heard differently here and there, does music serve different needs and expectations? What repertoire is performed, what educational and promotional institutions exist? And which innovations and traditions of the neighbours have been adopted at home, which have been ignored?
In his two-part radio programme, Uli Aumüller gives an overview of the results of an approximately 20-hour symposium with prominent participants.

Abschrift der Redebeiträge

With Brice Pauset, composer, Iris ter Schiphorst, composer, Herbert Schneider, music historian, Ulrich Mosch, music historian, Mathieu Schneider, music historian, Christian Zanesi, Ina GRM, Detlef Heusinger, Experimental Studio of SWR, Martin Zenck, WDR, Mark Andre, composer, Manos Tsangaris, composer, Martin Kaltenecker, music writer, Jean-Luc Hervé, composer, Heiner Goebbels, composer, Eric Denut, music commissioner at the French Ministry of Culture, Jörg Mainka, Hanns Eisler Academy of Music, Henry Fourès, composer, Wolfgang Rihm, Karlsruhe Academy of Music, Pascal Dusapin, composer

Cast & Crew

Uli Aumüller (Text)