Dialogue: Issue 3

From: Darren Miller
email address: emaildfm@gmail.com

The two recent reviews of Darmstadt 2008 by Niklas Seidl and Michael Spencer are both essentially accurate on most counts.  Both writers identify the most obvious strengths and weaknesses of the summer courses, in addition to some of the key reasons behind the current state of affairs in Darmstadt.  However, I do feel that both articles fall a little bit short in terms of potential solutions to the more universally recognized problems at the summer courses.  For instance, both authors mention the difficulties faced by young composers in terms of having their works performed at the festival.  Similarly, both authors mention the lack of time for concert and lecture attendance on the part of overburdened performers.  Given that registration, payment, and score submission all take place months in advance of the courses, a simple pre-assignment of works (to performers) should be significantly less than impossible.  Such a system would eliminate both of the previously mentioned problems.  Furthermore, a similar emphasis on pre-planning could also very easily eliminate many of the other problems associated with the Darmstadt experience.  Everything from efficient and comprehensive private lesson booking to more popular meal planning is well within reach, provided that festival organizers are willing to deal with known issues PRIOR to the commencement of the courses.  Aside from the absence of such potential administrative solutions, I also felt that both reviews were lacking in that neither mentioned the late-night activities of Manos Tsangaris.  Not only did Mr. Tsangaris maintain a full teaching and lecturing schedule during the day, but he also took an active role in securing further and more diverse performance opportunities for young composers through his improvised Nachtclub mit Fenster project.  This early identification and creative response to a known problem should not remain simply a fond memory for participants of Darmstadt 2008, but rather, should also serve as an example of creative problem solving and organization for future participants and administrators (assuming that the courses continue).

Response to Seidl and Spencer's Articles, Fall 2008 (Issue 3)
From: Felipe Ribeiro
email address: ribeiro.lipe@gmail.com

Unfortunately, lack of organization is now a major issue affecting the excellent reputation of the Darmstadt Festival for New Music. Everything seems quite well organized prior to the event (application, fees, contact, etc), but upon arrival, participants notice an unusual change. For this reason, it is good to see that both Seidl and Spencer present not only summaries of the festival, but also a critiques of areas in which assistance is required. As stated by both authors, Darmstadt represents a new music program of the highest quality, that all the same, displays several negative facets.
2008 marked my first experience with this particular new music festival, and I must confess that the experience was both positive and strange. I had a piece performed during the festival, but I need to emphasize the fact that the performance occurred only because of my persistence in tracking down players, without any assistance from festival organizers. Oddly enough, the commission had sent me an email stating that one of my pieces was selected for a performance (a different one than that which was performed). However, upon my arrival, no one knew anything about my piece or even where the score had ended up or was.
All organizational issues aside, any festival at which the Arditti String Quartet, Brian Ferneyhough, and Gyorgy Kurtág are all present, already possesses enough reasons for participation. The opportunity to schedule individual meetings with figures such as Wolfgang Rihm, Marco Stroppa, Manos Tsangaris, Vykintas Baltakas, and Klaus Lang (in addition to an average of three concerts per day), is more than any other festival can offer. Furthermore, the cost of the festival makes it accessible to a great number of students, especially in comparison to other such festivals.
I would like to conclude my feedback on the Darmstadt Festival with one of Seidl's phrases: "Even if it is difficult to imagine a perfect Darmstadt experience, it is equally difficult to imagine one that did not present something of worth".