Sound-Silence in Concretion 1960 by H. J. Koellreutter
Concretion 1960 is the first planimetric essay composed by Hans-Joachim Koellreutter (1915-2005). Koellreutter’s concept of sound-silence finds a clear musical realization in this piece. In this article, I explain this concept and show how, and by means of what compositional techniques, Koellreutter...
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| Format: | Article |
| Language: | Portuguese |
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Associação Nacional de Pesquisa e Pós-Graduação em Música
2018-08-01
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| Series: | Opus |
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| Online Access: | https://www.anppom.com.br/revista/index.php/opus/article/view/598 |
| Summary: | Concretion 1960 is the first planimetric essay composed by Hans-Joachim Koellreutter (1915-2005). Koellreutter’s concept of sound-silence finds a clear musical realization in this piece. In this article, I explain this concept and show how, and by means of what compositional techniques, Koellreutter arrives at a music in which, as he says, “sound is silence and silence is sound”. With this aim, I analyze the work by making use of the composer’s own definitions and concepts, which are based on a relativistic aesthetic, a view of music history as representing different types of human consciousness, and on principles of gestaltic perception. The piece is a mobile-form constructed by structural units composed of sound lines and blocks that create a static, quiescent and diaphanous time flow. This time flow proposes to the listener a contemplative listening and, as the composer calls it, a “mythic experience” of silence as the origin of all sounds. |
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| ISSN: | 0103-7412 1517-7017 |