. I would like to hear music that pushes the creative boundaries and challenges the traditional expectations in our understanding of what music is. I am also curious about collaborative projects between established composers and emerging AI-driven composition platforms and if it is possible for artists and AI to work together and challenge our preconceived notion of the creative process.
Hanna
18. April 2024 7:33
Alles, alte Musik, vertrautes, neues, bei dem vor Staunen der Mund offen steht und der Atem stockt, melodisches, das einhüllt, dissonantes, das aufweckt……
Alexander Farenholtz
13. April 2024 11:44
1. Sonatina from the J.S. Bach Cantate, ‘Gottes Zeit’ played by Ensemble Reflektor in the rotunda of the Kassel Fridericianum
2. Maya Shenfeld and Gay Guerilla Girls with Julius Eastman performing ‘Gay Guerilla’ at sunrise on midsummer’s day, on Branitzer Platz in Berlin
3. Elisabeth Schwarzkopf singing Richard Strauss’s ‘Wiegenlied’ on all the public announcement speakers of the Berlin underground and overground rail network
4. A music and dance event devised and performed by Billy Bultheel in the Berliner Philharmonie on the eve of its acquisition in perpetuum by the Berghain proprietors
Johannes Schöllhorn
3. April 2024 16:12
I hope that we will still be hearing the most multifarious music. What I look forward to above all is the music of those born after the year 2000, who are currently schoolchildren or about to leave school. I’m interested in what they are seeking, and I’d like to draw inspiration from them.
Nicolas Tzortzis
23. March 2024 13:51
In ten years, hopefully most of active composers right now will still be active, the ones now in their 40s will have matured, those in their 30s will be entering their first maturity, and there will be the younger generation that will bring its own influences to the mix.
Personally I’d be curious to see how Alex Mincek will have evolved, what Michelle Lou will be up to by then, and how Filippos Sakagian, Carolina Cerezo Davila and Myrtó Nizami will have matured.
I would also be curious to see what contemporary music “classics” will have survived, how the music of Xenakis, Stockhausen and Grisey will be perceived then, and also if some of today’s “superstars”, for which I have little to no respect, will still hold the same status.
Barbara
7. November 2023 10:56
Ich hoffe auf Werke, die den Fachleuten ebenso viel Freude machen wie den Ersthörer*innen! Wenn auch vielleicht auf verschiedenen Ebenen. Konzertbesuch ist meistens freiwillig, also muss es überzeugende Angebote geben. Am besten Orte der Begegnung.
Christian
15. October 2023 23:28
Ich bin neugierig auf neue Klänge und Ideen, erschaffen von Menschen aller “Schichten” und “Regionen”. Ich hoffe auf eine Neue Musik, die offen für neue und tadierte Ideen ist und bleibt – aber ohne Kunstschaffende durch Technik zu verdrängen. (Da wäre ich als Zuhörender irgendwann “auf und davon” – oder hoffentlich dort, wo es noch Menschen gibt, die Kunst schaffen.)
Haroon Mirza
6. September 2023 15:34
Music by artists that have not studied music.
Julian Anderson
6. September 2023 15:24
I do not wish to answer in terms of which specific composers. I would however like to answer the question At which places, virtual places, and on which occasions?
My answer:
At concert halls with good acoustics; at any other venues – art galleries, sports stadiums, amphitheaters e.g. those on Sicily or the Herod Atticus in Athens, always with good acoustics. Performances in great churches, sacred spaces and cathedrals such as Speyer Dom, Chartres Cathedral, the Pantheum in Rome or the former Hagia Sophia in Istanbul, can also be very inspiring – provided the musicians and audience are carefully placed so that the music can be properly heard.
The internet can be vital in bringing performances to people who would never otherwise hear them. But the acoustic joy of live performances is irreplaceable, both now and in 2033.
. I would like to hear music that pushes the creative boundaries and challenges the traditional expectations in our understanding of what music is. I am also curious about collaborative projects between established composers and emerging AI-driven composition platforms and if it is possible for artists and AI to work together and challenge our preconceived notion of the creative process.
Alles, alte Musik, vertrautes, neues, bei dem vor Staunen der Mund offen steht und der Atem stockt, melodisches, das einhüllt, dissonantes, das aufweckt……
1. Sonatina from the J.S. Bach Cantate, ‘Gottes Zeit’ played by Ensemble Reflektor in the rotunda of the Kassel Fridericianum
2. Maya Shenfeld and Gay Guerilla Girls with Julius Eastman performing ‘Gay Guerilla’ at sunrise on midsummer’s day, on Branitzer Platz in Berlin
3. Elisabeth Schwarzkopf singing Richard Strauss’s ‘Wiegenlied’ on all the public announcement speakers of the Berlin underground and overground rail network
4. A music and dance event devised and performed by Billy Bultheel in the Berliner Philharmonie on the eve of its acquisition in perpetuum by the Berghain proprietors
I hope that we will still be hearing the most multifarious music. What I look forward to above all is the music of those born after the year 2000, who are currently schoolchildren or about to leave school. I’m interested in what they are seeking, and I’d like to draw inspiration from them.
In ten years, hopefully most of active composers right now will still be active, the ones now in their 40s will have matured, those in their 30s will be entering their first maturity, and there will be the younger generation that will bring its own influences to the mix.
Personally I’d be curious to see how Alex Mincek will have evolved, what Michelle Lou will be up to by then, and how Filippos Sakagian, Carolina Cerezo Davila and Myrtó Nizami will have matured.
I would also be curious to see what contemporary music “classics” will have survived, how the music of Xenakis, Stockhausen and Grisey will be perceived then, and also if some of today’s “superstars”, for which I have little to no respect, will still hold the same status.
Ich hoffe auf Werke, die den Fachleuten ebenso viel Freude machen wie den Ersthörer*innen! Wenn auch vielleicht auf verschiedenen Ebenen. Konzertbesuch ist meistens freiwillig, also muss es überzeugende Angebote geben. Am besten Orte der Begegnung.
Ich bin neugierig auf neue Klänge und Ideen, erschaffen von Menschen aller “Schichten” und “Regionen”. Ich hoffe auf eine Neue Musik, die offen für neue und tadierte Ideen ist und bleibt – aber ohne Kunstschaffende durch Technik zu verdrängen. (Da wäre ich als Zuhörender irgendwann “auf und davon” – oder hoffentlich dort, wo es noch Menschen gibt, die Kunst schaffen.)
Music by artists that have not studied music.
I do not wish to answer in terms of which specific composers. I would however like to answer the question At which places, virtual places, and on which occasions?
My answer:
At concert halls with good acoustics; at any other venues – art galleries, sports stadiums, amphitheaters e.g. those on Sicily or the Herod Atticus in Athens, always with good acoustics. Performances in great churches, sacred spaces and cathedrals such as Speyer Dom, Chartres Cathedral, the Pantheum in Rome or the former Hagia Sophia in Istanbul, can also be very inspiring – provided the musicians and audience are carefully placed so that the music can be properly heard.
The internet can be vital in bringing performances to people who would never otherwise hear them. But the acoustic joy of live performances is irreplaceable, both now and in 2033.