Smolenické semináre 1968-69-1970 (Slovensky)

Smolenické semináre 1968-69-1970

Annual International Seminars on New Music were organized on the initiative of musicologist Peter Faltin and composers Peter Kolman (Experimental Studio Bratislava), Ivan Parík (composer) and Ladislav Kupkovič (“Music of Today” ensemble) at the end of 1960s (Slovakia).

50years Seminars in Smolenice (1968-69-1970)

The first three years of the event, held at Smolenice castle near Bratislava in 1968-1970, attracted Stockhausen, Ligeti, Kagel, 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.


György Ligeti – Poème Symphonique for 100 metronomes,
From left: Milan Adamčiak, Miloš Bláha, Juraj Hatrík, Otto Bartoň, Jozef Malovec, Václav Ježek, conductor Ladislav Kupkovič (Smolenice 1969)

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.


Peter Kolman – first appearance Ommagio a Gesualdo (Smolenice 1970)

SMOLENICE 1968
1-6 April 1968
Participants: Karlheinz Stockhausen, Józef Patkowski, Ulrich Dibelius, Hans Peter Reinecke, Eduard Herzog, Peter Faltin, Ladislav Kupkovič, Peter Kolman, Ivan Parík, and others.

SMOLENICE 1969
31 March – 4 April 1969
Participants: György Ligeti, Henryk Górecki, Boleslaw Szabelski, Carl Dahlhaus, Hans-Peter Reinecke, Hans G. Helms, Diether de la Motte, Vinko Globokar, Vladimír Lébl, Petr Kotík and QuAX Ensemble, Peter Faltin, Ladislav Kupkovič, Peter Kolman, Jozef Malovec, Roman Berger, Ivan Parík, Juraj Hatrík, Milan Adamčiak, and others.

SMOLENICE 1970
13-17 April 1970
Participants: Mauricio Kagel, Carl Dahlhaus, Siegfried Palm, Christoph Caskel, Karlheinz Boettner, Edward H. Tarr, Michal Bristinger, Dénes Zoltai, Tibor Kneif, Jan Kapr, Ivan Parík, Milan Adamčiak, Ladislav Mokrý, Ladislav Burlas, and others.


Ján Backstuber Experimental Studio Bratislava

Ľubomír Chalupka o Smolenických seminároch

Vyvrcholením avantgardného úsilia v slovenskej hudbe 60. rokov bola idea a realizácia Seminárov pre súčasnú hudbu, konaných v zámku (Domove vedeckých pracovníkov SAV) v dedinke Smolenice neďaleko Bratislavy, ktorej inšpirátorom a organizačným vedúcim podujatia sa stal Peter Faltin (v spolupráci s L. Kupkovičom, P. Kolmanom a I. Paríkom). Pôvodná myšlienka Seminárov v podobe medzinárodnej prehliadky súčasnej tvorby sa sformulovala už vroku 1965, ale tým, že mala byť realizovaná Zväzom slovenských skladateľov, narážala jej príprava na opatrnosť a organizačnú ťažkopádnosť. Až keď sa iniciatívy chopil aj Ústav hudobnej vedy SAV, ktorého bol P. Faltin pracovníkom, a rátalo sa aj s participáciou Experimentálneho štúdia bratislavského rozhlasu na čele s P. Kolmanom, mohol sa zámer skonkretizovať do veľkorysejšej podoby. Smolenické semináre tvorili modelový pendant prázdninových kurzov tzv. Novej hudby v nemeckom Darmstadte, kde okrem tematických prednášok a koncertov bývali do programu začlenené aj interpretačné workshopy. Podujatie na domácej pôde predstavovalo významný počin najmä tým, že sprostredkovalo inšpiratívnu platformu pre stretnutie slovenských hudobníkov s poprednými osobnosťami súčasnej hudby zo zahraničia i priestor pre prezentáciu kompozičných výsledkov predstaviteľov slovenskej hudobnej avantgardy v konfrontačne zdravej medzinárodnej atmosfére vzájomnej výmeny skúseností a informácií. Smolenické semináre sa uskutočnili v rokoch 1968-1970.

Počas troch ročníkov ich existencie navštívili Slovensko poprední hudobníci zo zahraničia, venujúci sa súčasnej tvorbe – napr. z Nemecka skladatelia Karlheinz Stockhausen a György Ligeti, muzikológovia Ulrich Dibelius, Hans Peter Reinecke, Carl Dahlhaus, Poliak Józef Patkowski, českí teoretici Eduard Herzog, Vladimír Lébl, Jan Kapr i interpreti (klarinetista Vinko Globokar, violončelista Siegfried Palm, klavirista Alfons Kontarsky, Kolínsky súbor pre Novú hudbu, pražský súbor QuAX vedený Petrom Kotíkom).

Stockhausenova idea kolektívnej skladby západonemeckých autorov Ensemble motivovala vznik jej slovenskej verzie Profily – založenej na mozaike zo skladieb P. Kolmana, L. Kupkoviča, J. Malovca a I. Paríka – ktorá sa prezentovala na prvom ročníku. Kolman prispel do tejto mozaiky staršou Molizáciou pre flautu a vibrafón, Kupkovič Etudou (v ktorej je východiskom koláže banálna téma z opery J. Offenbacha Hoffmannove rozprávky), Parík sólovými skladbami pre flautu, trúbku a violončelo, Malovec elektroakustickou kompozíciou Orthogenesis). Vnímanie tohto projektu predpokladalo pohyb poslucháčov po jednotlivých miestnostiach a priestoroch smolenického zámku (schodištia, veža) a mobilizovalo novú, tzv. topofonickú reguláciu znenia hudby a nekonvenčný kontakt interpretov s publikom. Prítomnosť K. Stockhausena – s uvedením jeho skladby Hymny (so skladateľom za režisérskym pultom, išlo o prvé uvedenie mimo nemeckej pôdy) a sugestívny spôsob prednášania (analyzoval svoju skladbu Prozession) – tvorila jeden z vrcholov Smolenických seminárov 1968. Do bloku prednášok zahraničných účastníkov – Ulrich Dibelius hovoril na tému Možnosti a nebezpečenstvá v súčasnej hudbe, Hans Peter Reinecke sa venoval psychologickým aspektom vnímania hudby, Eduard Herzog prezentoval číselné zákonitosti všeintervalových dvanásťtónových radov – prispeli aj domáci hudobníci. P. Faltin z filozofického aspektu pojednal o statike a dynamike procesovosti v hudbe, P. Kolman predstavil techniku “plošnej kompozície” a L. Kupkovič sa zapodieval možnosťami rozširovania kompozičného materiálu, ktorý má súčasný skladateľ k dispozícii.

O rok neskôr malo podujatie v Smoleniciach znovu príťažlivé apogeum – návštevu skladateľa György Ligeti, ktorý analyzoval svoje skladby (Atmosphéres, Requiem, Lux aeterna, Violončelový koncert) a do koncertného programu Hudby dneška prispel nezvyčajnou Poémou pre 100 metronómov.

Do bloku teoretických prednášok prispeli Carl Dahlhaus s témou Estetické problémy elektronickej hudby, český muzikológ Vladimír Lébl venoval pozornosť typológii zvukového materiálu v Novej hudbe, Hans Peter Reinecke predstavil možnosti výskumu merateľnosti sémantických štruktúr Novej hudby a Peter Faltin exponoval problém ontologických transformácií v umení avantgardy. K prezentácii autorských tvorivých problémov sa k Ligetimu pridal klarinetista Vinko Globokar i slovenskí skladatelia P. Kolman (Technológia elektronickej hudby), L. Kupkovič (K idei preparovaných textov) a J. Malovec (Moja cesta k elektronickej hudbe).

Popri koncertoch Hudby dneška (uviedlo sa na nich o.i. Nokturno pre päť veží a dvanásť dychov, ktoré autor Ivan Parík neskôr prepracoval pod názvom Vežová hudba) vystúpil znovu pražský súbor QuAX, ktorý do svojho programu zaradil aj skladby predstaviteľov americkej avantgardy – Johna Cagea (Atlas Eclipticalis, Amores) a Cornelia Cardewa (Schooltime Composition, Treatise). Inšpiratívne priestorové podmienky smolenického zámku sa na druhom ročníku Seminárov využili na realizáciu Kupkovičom iniciovaného happeningu Ad libitum. Voľnosť projektu spočívala v tom, že nevyžadoval konkrétnych interpretov, znelo len to, čo na základe voľnej fantázie a momentálneho vnuknutia vyprodukovali účastníci Seminára, ktorí mali počas 4 hodín trvania k dispozícii rôzne tradičné akustické nástroje, ako aj prístroje generujúce a modulujúce elektroakustický zvuk, rozmiestnené v jednotlivých zákutiach zámku. (Pohyb “interpretov” takto otvoreného projektu v priestore bol regulovaný dopravnými značkami). Išlo o posledný z radu provokujúcich nápadov L. Kupkoviča – medzi ne patrí aj skupina tape-music projektov s názvom Preparované texty (1968-1969), založených na montáži úryvkov zo skladieb klasických autorov (W. A. Mozart, J. Brahms, L. van Beethoven). Preparovaný text č. 3 spôsobom materiálovej montáže a koláže ironicky komentuje finále z Beethovenovej 9. Symfónie, čo sa dá chápať nielen ako vtip, ale aj ako skladateľov protest voči okupácii Československa vojskami Varšavskej zmluvy v auguste 1968.

Napokon “labutia pieseň” aktivity slovenskej hudobnej avantgardy, Smolenický seminár v apríli 1970, už bez účasti L. Kupkoviča a P. Flatina, kľúčových osobností, ktorí iniciovali myšlienku podujatia, priniesol pod organizačným vedením I. Paríka domácim účastníkom i zahraničných hosťom (teoretici Carl Dahlhaus, Dénes Zoltai, Jan Kapr, Kolínsky súbor pre Novú hudbu Maurizia Kagela) pohľad na novinky slovenskej elektroakustickej autonómnej tvorby – Hommage to Wiliam Croft I. Paríka, Omaggio á Gesualdo P. Kolmana, Tabu J. Malovca (časť tohto programu odznela už v decembri 1969 na prvom koncerte elektroakustických kompozícií v Bratislave). Boli uvedené aj nové slovenské zborové kompozície: Tri madrigalové impresie I. Hrušovského, Litanie lauretanae T. Salvu a Zeljenkove Hry pre 13 spevákov v podaní Slovenských madrigalistov, ako aj snaha nadviazať na Kupkovičove priestorové projekty výtvorom Dislokácia od študenta muzikológie a začínajúceho skladateľa-autodidakta Milana Adamčiaka. (zdroj)

Editions
1-6 April 1968. Participants: Karlheinz Stockhausen, Józef Patkowski, Ulrich Dibelius, Hans Peter Reinecke, Eduard Herzog, Peter Faltin, Ladislav Kupkovič, Peter Kolman, Ivan Parík, and others.

31 March – 4 April 1969. Participants: György Ligeti, Henryk Górecki, Boleslaw Szabelski, Carl Dahlhaus, Hans-Peter Reinecke, Hans G. Helms, Diether de la Motte, Vinko Globokar, Vladimír Lébl, Petr Kotík and QuAX Ensemble, Peter Faltin, Ladislav Kupkovič, Peter Kolman, Jozef Malovec, Roman Berger, Ivan Parík, Juraj Hatrík, Milan Adamčiak, and others.

13-17 April 1970. Participants: Mauricio Kagel, Carl Dahlhaus, Siegfried Palm, Christoph Caskel, Karlheinz Boettner, Edward H. Tarr, Michal Bristinger, Dénes Zoltai, Tibor Kneif, Jan Kapr, Ivan Parík, Milan Adamčiak, Ladislav Mokrý, Ladislav Burlas, and others.

Literature
Ľubomír Chalupka, “Smolenice 1968”, Slovenská hudba 12, 1968, No. 6, pp 278-282. (Slovak)
Naďa Földváriová, “Smútok sluší recesii”, Slovenská hudba 13, 1969, No. 6/7, pp 240-245. (Slovak)
Naďa Hrčková, “Utvrdzovanie sa vo viere”, Hudobný život 1, 1969, No. 5, p 7. (Slovak)
Leoš Jůzl, “Smolenice 69”, Hudební rozhledy, 22, 9, 1969, p 259. (Czech)
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)
Naďa Földváriová, “Smolenice po tretí raz”, Slovenská hudba 14, 1970, No. 5/6, pp 168-171. (Slovak)
Naďa Hrčková, Terézia Ursínyová, “Dva pohľady na Smolenice”, Hudobný život 2, 1970, No. 9, p 1, 3. (Slovak)
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)
Ladislav Burlas, “Nová hudba a historická dimenzia hudby”, Slovenská hudba 15, 1971, No. 8, pp 289-293. Lecture presented at Smolenice (1970). Republished in Ľubomír Chalupka, Slovenská hudobná avantgarda, Bratislava: Comenius University, 2011. (Slovak)
Peter Faltin, “Ontologické transformácie v hudbe šesťdesiatych rokov”, Slovenská hudba 18, 1992, No. 2, pp 175-179. Lecture presented at Smolenice (1969). (Slovak)
Slávo Krekovič, “Organized Sound and Experiments in Slovak Music”, in Anthology of Experimental Music Cultures in Central and Eastern Europe 1950-2010. (English) (German) (Slovak)

in: Ľubomír Chalupka, Slovenská hudobná avantgarda, Bratislava: Comenius University, 2011, pp 102-106. (Slovak)

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    – **Atlanta Botanical Garden:** A 30-acre garden showcasing
    an incredible variety of plants, flowers, and sculptures.

    – **Centennial Olympic Park:** Built for the 1996 Summer Olympics, it’s a gathering spot
    with fountains, events, and green spaces.

    – **Martin Luther King Jr. National Historic
    Site:** Preserving the legacy of the civil rights leader, including
    his childhood home and Ebenezer Baptist Church.

    – **Piedmont Park:** A sprawling urban park with
    walking trails, sports facilities, and the picturesque Lake Clara Meer.

    – **The Fox Theatre:** A historic venue known for its Moorish architecture and hosting various performances.

    **Why Choose Freedman’s Ergonomic Office Chairs in Atlanta**

    Opting for Freedman’s ergonomic office chairs in Atlanta is not merely a decision—it’s a statement.

    Elevate your workspace with our stylish
    and comfortable chairs, embodying the spirit of innovation and success that defines Atlanta’s dynamic
    professional landscape.

    “Discover Unmatched Seating Comfort with Freedman’s
    Office Chairs in Orlando

    **Elevate Your Workspace: Freedman’s Office Chairs in Orlando**

    Located at 200 E Robinson St Suite 1120, Orlando, FL 32801, Freedman’s Office
    Furniture is proud to introduce its exclusive range of office chairs
    to the vibrant city of Orlando. Serving neighborhoods like Colonial Town Center and College Park, Freedman’s provides superior office seating solutions that prioritize both comfort and style.

    **Crafting a Distinctive Workspace in Orlando’s Sunshine
    State**

    Established in 1875, Orlando has transformed into a thriving city with a
    2021 population of 309,154 and 122,607 households. Freedman’s dedication to delivering top-tier office chairs
    aligns seamlessly with Orlando’s sunny ambiance, offering residents ergonomic
    solutions that blend seamlessly with the city’s dynamic and energetic atmosphere.

    **Navigating the Urban Landscape: The Significance of Interstate 4**

    Much like the flow of Interstate 4, Freedman’s ergonomic office chairs effortlessly navigate the modern office landscape.
    This mirrors Orlando’s status as a hub of entertainment and technology, where residents seek innovative
    and comfortable seating solutions, making our chairs the ideal choice for
    those desiring a superior seating experience.

    **Investing in Excellence: A Thoughtful Choice for Orlando Professionals**

    In a city known for its theme parks and cultural attractions, choosing Freedman’s ergonomic office chairs
    is a thoughtful investment. Our chairs not only enhance the visual appeal of your
    workspace but also align with Orlando’s commitment to creating a vibrant and comfortable work
    environment that fosters creativity and success.

    **Explore Orlando’s Magical Attractions and Relax in Freedman’s Chairs**

    Immerse yourself in Orlando’s magical offerings while enjoying the unmatched
    comfort of Freedman’s ergonomic office chairs. Here are five fascinating facts about some
    of Orlando’s most iconic landmarks:

    – **Walt Disney World Resort:** The world’s most-visited vacation resort, featuring four theme parks and numerous attractions.

    – **Universal Studios Florida:** A film and television studio theme park with thrilling rides
    and shows.
    – **Lake Eola Park:** A downtown oasis with swan boats, live swans, and scenic walking paths.

    – **Orlando Science Center:** A hands-on science museum with interactive exhibits and engaging displays.

    – **Dr. Phillips Center for the Performing Arts:** A
    modern venue hosting various live performances, including Broadway shows.

    **Why Choose Freedman’s Ergonomic Office Chairs in Orlando**

    Opting for Freedman’s ergonomic office chairs in Orlando is more than just
    a decision—it’s a commitment to excellence.
    Elevate your workspace with our stylish and comfortable chairs, embodying the spirit of innovation and
    success that defines Orlando’s dynamic professional landscape.


    “Revolutionize Your Workspace with Freedman’s Office Chairs in Atlanta

    **Experience Unparalleled Comfort: Freedman’s Office Chairs in Atlanta**

    Nestled at 3379 Peachtree Rd NE, Atlanta, GA 30326, Freedman’s Office Furniture proudly introduces its exceptional collection of office chairs to the dynamic city of Atlanta.
    Serving neighborhoods like Ansley Park and Buckhead,
    Freedman’s delivers office seating solutions that seamlessly combine ergonomic
    design with aesthetic appeal.

    **Redesigning Your Office Aesthetic: Freedman’s Office Chairs in Atlanta**

    Founded in 1836, Atlanta has evolved into a bustling metropolis with a 2021 population of 496,461 and 227,
    388 households. Freedman’s commitment to providing top-notch office chairs perfectly complements Atlanta’s modern and diverse atmosphere, offering residents seating solutions that embody both innovation and style.

    **Navigating the Cityscape: The Significance of Interstate 20**

    Much like the connectivity provided by Interstate 20, Freedman’s ergonomic office
    chairs seamlessly integrate into Atlanta’s diverse
    professional landscape. Reflecting Atlanta’s status as a cultural and
    economic hub, our chairs offer residents unparalleled comfort and style,
    making them the preferred choice for those seeking an exceptional seating experience.

    **A Commitment to Excellence: Choosing Freedman’s Chairs in Atlanta**

    In a city known for its rich history and cultural landmarks, choosing Freedman’s ergonomic office chairs is a statement of commitment to excellence.
    Our chairs not only enhance the visual appeal of your workspace but also align with Atlanta’s reputation for
    fostering innovation and success.

    **Explore Atlanta’s Rich Heritage and Relax in Freedman’s Chairs**

    Discover the vibrant history of Atlanta while enjoying the unrivaled comfort of Freedman’s ergonomic office chairs.
    Here are five intriguing facts about some of Atlanta’s iconic landmarks:

    – **Atlanta History Center:** A comprehensive history museum featuring
    exhibits on the Civil War and Southern history.

    – **Piedmont Park:** Atlanta’s premier green space, offering walking paths,
    sports facilities, and beautiful scenery.
    – **Martin Luther King Jr. National Historic Site:** Preserving the childhood home of the civil rights leader and featuring the Ebenezer Baptist
    Church.
    – **The Fox Theatre:** A historic performing arts venue known for its grand architecture and diverse
    entertainment.
    – **The High Museum of Art:** Atlanta’s leading art museum, showcasing a diverse
    collection of artwork.

    **Why Freedman’s Ergonomic Office Chairs Stand Out in Atlanta**

    Choosing Freedman’s ergonomic office chairs in Atlanta
    is a decision that transcends mere furniture. It’s a commitment to elevating your workspace with
    stylish and comfortable seating that resonates with Atlanta’s spirit of progress and achievement.

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