Jos Kunst - Exchange For Fire




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Published on Oct 11, 2014

Jos Kunst (1936-1996)

Exchange for fire : for flute solo (1994)

Jos Zwaanenburg, flute

dedicated to Jos Zwaanenburg

Program note (Dutch): Heraclitus was een man die, eerder dan de wat ruggegraatloze ongrijpbaarheid van alle dingen (het panta rhei) waarom hij bekend is, de gedachte aanhing dat in ieder ding allerlei extreme tegendelen met elkaar in conflict zijn en daarbij ook feitelijk in elkaar overgaan, waarbij het aggressiefste en hoogste van alle elementen (het vuur) tevens fungeert als het meest abstracte, als het element waarin alle andere het meest rechtstreeks vertaalbaar zijn.
In het stuk 'Exchange For Fire' voor solofluit wordt voorgedaan hoe dat gaat.

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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