C0 note (16,35 Hz) — vibrating on liquid surface

D0 note (18.35 Hz) — vibrating on liquid surface

C0 note (16,35 Hz) — vibrating on liquid surface

F0 note (21.83 Hz) — vibrating on liquid surface

G0 note (24.50 Hz) — vibrating on liquid surface

A0 note (27.50 Hz) — vibrating on liquid surface

Touring with Contemporary Music - The ISCM World Music Days in Luxembourg - Anna Dorota Wladyczka



Touring with Contemporary Music - The ISCM World Music Days in Luxembourg 
(the 29th of September - the 8th of October 2000) 
For many years we discussed into the ISCM about the future of the ISCM World Music Days. Recently, the core of the discussion is possibility of combining the widest possible national representation with satisfying artistic level. After the ISCM WMD in Romania presenting most of the National Jury selection, the ISCM World Music Days in Luxembourg (2000) was next voice in discussion about the future of the festival. 
The procedure of programme building was based on the International Jury selection. On the other hand the organisers cared about wide national representation. 
The final result was mix of above-mentioned criteria and personality of Marcel Wengler, the Artistic Director of the festival. Another important factor was local possibilities. Organisers decided to prepare the festival not only in one town and country. The schedule had two aims - to enlarge public for all concerts and to make the event an unforgettable experience for all foreign visitors. We visited not only numerous amount of old towns, castles, ruins and churches but also France and Germany. The luxury boat trip was also a remarkable experience. 
Another significant feather of the festival was a great number of excellent performers. Worth to mention some of the most famous: the Arditti String Quartet, the Ensemble Intercontemporain - IRCAM, the Ensemble Modern, the BBC Symphony Orchestra from London. Such choice helps to improve the level of the festival. The only problem is to have comparative level of performed music. My personal view was that most of the presented compositions was professional, interesting but a bit cool and often academic. Too little emotions and personalities, a lot of beauty (mostly classical one), not too much originality and variability, only some profoundly and moving things. 
The event impressed me the most was acusmatic concert of electronic music with dance interpretation by Jean Guillame Weis and Tanztheater Basel (Kulturfabrik Esch-sur-Alzette, the 30th of September 2000). A contemporary dance, in my reception, was an integral part of the music. Sometimes it was an illustration, sometimes an addition or a counterpoint. It was a lot of raw beauty, plenty of tension, emotion and expression. 
The greatest disappointment was a concert of Sinfonieorchester des Saarländischem Rundfunks, which seemed to be unprepared to the concert. It was the shame especially for beautiful composition "Aurora Australis" by Bozidar Kos (Funkhaus Halberg Saarbrücken, Germany the 6th of October 2000). The really satisfying part of the programme was presence of multimedia, sound and video installations, performances and other experimental forms. The multimedia and transcultural project "The Gate - Orchestra Theatre IV" by Tan Dun was a very strong closing of the festival (Conservatoire de Musique Luxembourg, the 7th of October 2000). Generally, the festival atmosphere was connected with artistic touring; the important element was a presence of witty elements. Being not too serious was really refreshing. It was a pleasant festival. But the question "what about future?" is still open. Looking for the past of the ISCM WMD and the status of our Society seems to improve dreams about more masterpieces presented in the programme, more World Premieres of remarkable compositions (like in the past), and stylistic and ethnic variability (like in status). And besides for more audience for contemporary music at all. 
The main purpose of the ISCM is to promote contemporary music. It is not the same to promote contemporary composers. Maybe such little distinction will help to find the way for lost audience for contemporary music in future. 
Anna Dorota Wladyczka 
ISCM Polish Section 


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