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The focus of Wien Modern 2014, according to Artistic Director Matthias Lošek, is best summarised with the two English words ‘on screen’. In his editorial forward to the programme book, Lošek communicated the thinking behind the festival and explained that ‘“on screen” engages with the interface between film/television and contemporary music’. Perhaps it is no surprise, then, that the majority of events in the festival, which ran from 29 October until 21 November 2014, had a strong visual element. This precedence of the visual in a major contemporary music festival brought to mind a review of this year's Darmstadt courses: ‘Das Auge hört mit’, a reviewer of Darmstadt 2014 concluded in the latest issue of the Neue Zeitschrift für Musik, ‘the eye listens in’. The world, it seems, is not as we were taught: German-speaking Central Europe, for some the Mecca of absolute music, is looking elsewhere. How could this be?
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- FIRST PERFORMANCES
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Footnotes
1
A version of this review was published in Slovak in Hudobný Život.
References
2 Lošek, Matthias, Editorial in Katalog WIEN MODERN, ed. Lošek, Matthias (Saarbrücken: Pfau, 2014), p. 10Google Scholar. Translations are my own unless noted otherwise.
3 Eckle, Barbara, ‘Das Auge hört mit: Die Internationalen Darmstädter Ferienkurse für Neue Musik 2014’, Neue Zeitschrift für Musik, 5 (2014), p. 72Google Scholar.
4 http://www.wienmodern.at/language/en-US/Home/Thema/CategoryId/74/subCategoryId/56, (accessed 15 November 2014).
5 Ender, Daniel, ‘Schönheit im Konjunktiv’, Falter, 43a/14 (2014), p. 9Google Scholar.