Carte blanche Mathias Spahlinger
Concert and talk
For musicians only?
Sociologist Heinz Steinert labeled the dynamic between musicians and their audience a working relationship. Because of several particularities in New Music (the conventional division of labour is no longer self-evident, professionals are often in the audience) it is quite possible to apply this term to the entire scene. Such coalitions, when they – fleeting as they may be – reach changing but higher degrees of consistency are not determined by a measurable rate of success but by common or disparate emotional states that are accessible to the ratio, by vague, always nascent, justifiable visions of the future.
When, viewed from outside, an impression of cohesion even emerges, it usually applies to the incomplete project of the Modern period; to the fact that clarification about conventions that have become positive is necessary and possible. After 1968, this was called Critical Music. Yet criticism can only be as critical as it is self-critical. The dogged here or the contrite there no longer bears any appeal. That such working relationships really do exist is evident in that they enable unconditional sympathy. I put together this concert programme, autocratically, with the notion of such a working relationship in mind. Too bad, though, that not all of the colleagues and friends who belong here composed works for a string trio.
Wer ihnen ihres nicht tanzt, spottet der verabredeten Bewegung
for violin, viola and cello (1992/1993)
Study for String Instrument #1
for string instruments ad lib. (2007)
String Trio op. 45 (1946)
Zwei Minuten gegen das Vergessen
for string trio (1978)
Variations for string trio and tape (1993)
Schlussvignette & Retraiteschuss (1987)
Mathias Spahlinger, prize winner Großer Kunstpreis Berlin 2014, in conversation with Cornelius Schwehr and Björn Gottstein
Melise Mellinger, violin
Barbara Maurer, viola
Åsa Åkerberg, cello