51. Intérpretes

Contemporánea

La existencia de ejecutantes musicales que no son compositores, o lo son pero prefieren consagrarse a interpretar, resulta crucial en la Historia de la Música. Gracias a esos encargos de los que se beneficia su desempeño, han hecho más grande la obra de los grandes compositores.
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Has escuchado

Immer: pour violoncelle seul (1996) / Pascal Dusapin. Sonia Wieder-Atherton, violonchelo. RCA (2001)

Plainsound Glissando Modulation: Raga in Just Intonation for Violin and Double Bass, op. 49 (2006-2007) / Wolfgang von Schweinitz. Helge Slaatto, violín; Frank Reinecke, contrabajo. NEOS (2009)

Ryoanji: For Contrabass and Tape (1983) / John Cage. Stefano Scodanibbio, contrabajo. WERGO (2009)

st/4: for string quartet (1955-1962) / Iannis Xenakis. Arditti String Quartet. Montaigne (2003)

Wunderblock (Nebenstück II): pour accordéon et orchestre (2005) / Gérard Pesson. Teodoro Anzellotti, acordeón. Aeon (2009)

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Selección bibliográfica

CLARKE, Eric F. y Mark Doffman, Distributed Creativity: Collaboration and Improvisation in Contemporary Music. Oxford University Press, 2017

COOK, Nicholas, Beyond the Score: Music as Performance. Oxford University Press, 2013

COUROUX, Marc, “Evryali and the Exploding of the Interface: From Virtuosity to Antivirtuosity and Beyond”. Contemporary Music Review, vol. 21, n.º 2-3 (2002), pp. 53-67

DUNCAN, Stuart Paul, “Re-Complexifying the Function(s) of Notation in the Music of Brian Ferneyhough and the ‘New Complexity’”. Perspectives of New Music, vol. 48, n.º 1 (2010), pp. 136-172*

FLENDER, Reinhard David, Freie Ensembles für Neue Musik in Deutschland eine Studie des Instituts für kulturelle Innovationsforschung an der Hochschule für Musik und Theater Hamburg. Schott, 2007

HILL, Peter, “Xenakis and the Performer”. Tempo, n.º 112 (1975), pp. 17-22*

HOWARD, Philip, “‘Evryali’: Beyond the Surface (What I Learned from ‘Evryali’ by Performing It)”. Perspectives of New Music, vol. 42, n.º 2 (2004), pp. 144-157*

LAWSON, Colin y Robin Stowell (ed.), The Cambridge History of Musical Performance. Cambridge University Press, 2012*

MABRY, Sharon, Exploring Twentieth-Century Vocal Music. Oxford University Press, 2010*

MADURELL, François, L’ensemble Ars Nova: Une contribution au pluralisme esthétique dans la musique contemporaine, 1963-1987. L’Harmattan, 2003

MCPHERSON, Gary E. (ed.), The Oxford Handbook of Music Performance. Volume 1. Oxford University Press, 2022*

—, The Oxford Handbook of Music Performance. Volume 2. Oxford University Press, 2022*

PACE, Ian, “Notation, Time and the Performer’s Relationship to the Score in Contemporary Music”. En: Unfolding Time: Studies in Temporality in Twentieth Century Music. Editado por Darla Crispin. Leuven University Press, 2009

SILVERTHORNE, Diane V. (ed.), Music, Art and Performance from Liszt to Riot Grrrl: The Musicalisation of Art. Bloomsbury Publishing, 2021*

WEISBERG, Arthur, Performing Twentieth-Century Music: A Handbook for Conductors and Instrumentalists. Yale University Press, 1993*

WRIGHT, David C. H., “The London Sinfonietta 1968-2004: A Perspective. Twentieth-Century Music, vol. 2, n.º 1 (2005), pp. 109-136

*Documento disponible para su consulta en la Sala de Nuevas Músicas de la Biblioteca y Centro de Apoyo a la Investigación de la Fundación Juan March