Dear Thomas Thank you very much have the major impetus to a debate, "You Is free improvisation in the end?" With your article in the Dissonance 111 given. It is held active, suffer from a bit short-sighted title, and unfortunately sometimes with unnecessary aggression.
So you have many encouraging reactions thrown some little immature or too simple thoughts of you have already been dealt with differentiated. We refer you to the substantive, detailed review of Miriam Sturzenegger. We are also pleased that it was above all for young people volunteered strongly - and rightly so. What more is needed to show how vibrant and relevant to this music and this scene?
We would now not go into the details of your article, but would prefer to discuss with you in person with a glass of wine about which you nostalgic impulses have moved to this article. A nostalgia of your article, while being inspired, but their origin is not articulated is.
We find it interesting that you take a beginning as a springboard for the ringing in of a doomsday. For us, the concert party of the septet in the WIM Zurich on 22 June 2010, a study that can be placed on these specific Septettformation freely improvised musical questions to the point. With no doubt pleasing result. But just a beginning: Now, a worker process is started, during which we will spend a lot of time to deepen the musical language of the Septet. As Joseph Haydn composed for the perfect Symphony No. 99 Symphony No. 100 even better, then the further probing depths Symphony No. 101: No end.
The end times, You mean the ability to sense of: Is it not more in the end of an old time, you nachtrauerst something as freely improvised music supposedly from a "counter-society" evolved out? Whatever time was not. The development of free jazz, free improvised music has always been considered by purely musical decisions in motion, but then had social consequences: Those who left a binding, socially accepted "grammar", fell into the so-called "underground".
But today the situation is completely different than in the sixties, seventies and eighties. It is in this sense, no "counter-society" more. The '68 generation has a democratic process triggered, the episodes had to Walls, which provided resistance and where we rubbed were leveled (the last 20 years). We can now each and every everything (with all its positive and negative connotations). Musically, that means "anything goes" that each and every relationship in itself aesthetically a clear position in order not to end up in vague. A problem that both composing and free improvising musicians and musicians know, because it is the fundamental issue of late post-modernism.
We certainly are pleased that today we can concentrate on the music without ideological baggage and must be without revolutionaries.
Cordial Grüsse KARL ein KARL
:
Peter K Frey
Michel Seigner
Alfred Zimmerlin
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