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Jos Kunst - No Time

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Published on Oct 11, 2014

Jos Kunst (1936-1996)

No time : for 3 clarinets, bass clarinet, piano, 2 percussionists (1974)

Harmen de Boer, clarinet
Harrie Dijkstra, clarinet
Gerrit Boonstra, clarinet
John Anderson, bass clarinet
Frank Denyer, piano
Frederika de Winter, percussion
Tobias Liebezeit, percussion
Walter Althammer, conductor


Program note (English): I have composed No Time in order to pursue and to extend the trend of thought underlying Elements of Logic. Ambiguity, the central concept of the Elements, is also applied in No Time, in aspects defining the form, the long-distance relationships.
First some marginal notes concerning matters one cannot hear on the record. No Time is a composition containing two solos, one for bass clarinet, and one for piano, which have been integrated into an ensemble; both start at once in bar 67 and proceed till the end. It is also possible to combine the two compositions with the exclusion of other clarinets and percussion, the result being the composition No Time at all. It was my aim to organize musical meanings and formal effects in such a way that these different combinations would bring about radical changes in as many materials, details and long distance effects as possible.

Jos Kunst was a Dutch composer, musicologist and poet. He studied Roman languages and literature before studying composition with Joep Straesser and Ton de Leeuw at the Amsterdam Conservatory. He was awarded the Composition Prize in 1970 and went on to study sonology at the University of Utrecht.
As a composer he was attracted by the extremist approach to sound and structure taken by composers such as Varèse, Webern and Xenakis. In pieces like Insecten (1966, awarded the AVRO prize at the Gaudeamus music week, 1967), Arboreal (1968, awarded first prize at the Gaudeamus music week, 1968) and Elements of Logic (1972, composed in collaboration with Vriend), Kunst, in pursuit of Xenakis, employed his knowledge of mathematical and logical theories. Underlying this approach was his conviction that complex music could be a tool to help the emancipation of the lower social classes. Partly because of the lack of social response to his austere and structural music, from musicians and audiences alike, he stopped composing between 1975 and 1989.
In 1976 he began teaching 20th-century music at the musicology department at the University of Utrecht. In 1978 he obtained the doctorate with a brilliant thesis Making Sense in Music: an Enquiry into the Formal Pragmatics of Art. A first attempt to formalize the process of aesthetic perception by the listener, the work made extensive use of mathematical formulae. Due to, again, lack of response, Kunst withdrew from teaching in 1989, after having formulated his ideas in a more colloquial style in Filosofie van de Muziekwetenschap (Leiden, 1988), and began to compose again. His music remained austere and non-tonal, but he also allowed repetition, tonal direction and warm sound colours (Concertino, 1994–1995). His creativity and intelligence were always driven by the ambition to prove himself solely by quality and integrity. Never an accessible artist and scientist, he was a profound thinker whose influence has not as yet been accorded its full value.

  • Category

  • Song

  • Artist

    • Barton Workshop
  • Album

    • Any Two, No Time-Cycle, Solo Identity, No Time at All, No Time,
  • Licensed to YouTube by

    • The Orchard Music (on behalf of Composers Voice)

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