Difference between revisions of "International Seminars on New Music, Smolenice"
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| − | Annual International Seminars on New Music were organized on the initiative of musicologist [[Peter | + | Annual International Seminars on New Music were organized on the initiative of musicologist [[Peter Faltin]] and composers [[Peter Kolman]] and [[Ladislav Kupkovič]] at the end of 1960s. The first three years of the event, held at [[Smolenice]] castle near [[Bratislava]] in [[1968]]-[[1970]], attracted [[Karlheinz Stockhausen]], [[Mauricio Kagel]], [[György Ligeti]], [[Witold Lutosławski]] and other personalities to [[Slovakia]] and thus created an important platform for presentation of domestic musical production and for its confrontation with world trends. Unfortunately, the partial opening of iron curtain and the general cultural upsurge of the 1960s were frozen by tanks in 1968. Neo-stalinistic "normalization" of the early 1970s violently pushed this - and not only this - creative branch beyond the borders of permitted cultural activities. A number of composers were pushed into background, established international contacts were lost, public interest in experimenting decreased.[http://web.archive.org/web/20030313155455/http://www.slovakradio.sk/radioinet/kultura/expstudio/txte.html] |
; Literature | ; Literature | ||
Revision as of 13:18, 22 January 2013
Annual International Seminars on New Music were organized on the initiative of musicologist Peter Faltin and composers Peter Kolman and Ladislav Kupkovič at the end of 1960s. The first three years of the event, held at Smolenice castle near Bratislava in 1968-1970, attracted Karlheinz Stockhausen, Mauricio Kagel, György Ligeti, Witold Lutosławski and other personalities to Slovakia and thus created an important platform for presentation of domestic musical production and for its confrontation with world trends. Unfortunately, the partial opening of iron curtain and the general cultural upsurge of the 1960s were frozen by tanks in 1968. Neo-stalinistic "normalization" of the early 1970s violently pushed this - and not only this - creative branch beyond the borders of permitted cultural activities. A number of composers were pushed into background, established international contacts were lost, public interest in experimenting decreased.[1]
- Literature
- Helga de la Motte-Haber, "Internationale Seminare fuer Neue Musik in Smolenice", Die Musikforschung, Vol. 22, No. 2, Kassel: Bärenreiter, Apr/Jun 1969, pp 215-216. (German)
- Tibor Kneif, "III. Internationale Seminare fuer Neue Musik in Smolenice", Die Musikforschung, Vol. 23, No. 4, Kassel: Bärenreiter, Oct/Dec 1970, pp 451-453. (German)
- "Organized Sound and Experiments in Slovak Music", in Anthology of Experimental Music Cultures in Central and Eastern Europe 1950-2010. (English) (German) (Slovak)
- See also
