BUSONI SKETCH OF A NEW AESTHETIC OF MUSIC PDF

How were you introduced to Sketch of a New Aesthetic of Music, what made you decide to publish your own version of the text? The original German text dates from , and the first English translation by Theodore Baker is from While the original is still perfectly readable, the language is very of its time and we saw an opportunity to make the text more accessible for a modern audience. There have been quite a few reprints of the English translation since it was originally published, but none that have revisited the text to the extent that we have with this edition.

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How were you introduced to Sketch of a New Aesthetic of Music, what made you decide to publish your own version of the text? The original German text dates from , and the first English translation by Theodore Baker is from While the original is still perfectly readable, the language is very of its time and we saw an opportunity to make the text more accessible for a modern audience. There have been quite a few reprints of the English translation since it was originally published, but none that have revisited the text to the extent that we have with this edition.

This publishing programme draws parallel with the highly active period of critical writing around musical modernism in the early twentieth-century, mainly in Europe, which was widely disseminated in the form of modestly-produced pamphlets. Busoni was a key figure in this discourse and his ideas resonate just as much - perhaps more so - today. The act of republishing the essay is a kind of mission statement for what I hope to develop with Precinct.

Varese and Schoenberg were two pupils of Busoni who shared a lot of his principles; for example, a want for freedom from strict adherence to the 12 tone scale. Are you a fan of what these composers achieved with their music?

Publishing these books with Precinct only helps to amplify this awareness and reflection. He advocated a continued formal and conceptual reinvention of the novel.

How involved were you with the translation? Pamela is a highly experienced translator and editor, so I left it in her very capable hands. His research kept uncovering new information to integrate into the final translation, so Pamela and he traded many notes.

For a relatively short text, there is meticulous attention to detail. The result is a text that is charged with a new urgency. Is there anything in Sketch that you feel especially resonates with contemporary audiences?

In particular I find the references to primitive electronic instruments the first synthesisers, essentially surprising, and presumably were fairly astonishing to read about at the time.

The last 15 years or so have been an unstable time for the music industry, which might be the best thing that could have happened, given the new forms of music that have emerged in response to this fluctuating landscape, and indeed that are shaping the landscape. Modes of production and distribution available to musicians, driven by technological advancements, have exploded, presenting a healthy opposition to the mechanisms and practices of previous decades this, incidentally, also relates to recent developments in publishing.

What can we expect from Precinct in the future?

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And what do you expect? In them a problem of the first magnitude is formulated with apparent simplicity, without giving the key to its final solution; for the problem cannot be solved for generations—if at all. But it involves an innumerable series of lesser problems, which I present to the consideration of those whom they may concern. For it is a long time since any one has devoted himself to earnest musical research.

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Goltizahn How involved were you with the translation? Popular passages Page 8 — Indeed, all composers have drawn nearest the true nature of music in preparatory and intermediary passages preludes and transitionswhere they felt at aesthetuc to disregard symmetrical proportions, and unconsciously drew free breath. Sketch of a New Aesthetic of Music was written by the influential yet obscure Berlin socialite and former piano prodigy Ferruccio Busoni inthe essay provides a fascinating insight into turn of the century thinking and is a compelling and prescient manifesto for the possibilities of music once freed from aestbetic constraints. Page 4 — We have formulated rules, stated principles, laid down laws; — we apply laws made for nfw to a child that knows nothing of responsibility! Page 27 — Minor— by the bifurcated garment.

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The New Aesthetic also seems to address the prevalent turn-of-the-century despair about the decline of a tradition of great classical music — a despair that, in the twenty-first century, is not only alive and well but has spread to many other music-making traditions too. He is very keen to stress that musical composition is not an old and dying art whose greatest successes — Bach, Mozart, Beethoven — lie in the past, never again to be surpassed. Proportionally, then, he projects his hopes into a musical golden age that extends for several millennia at least, with the best yet to come. In it, a universe overflowing with intensive, heterogeneous musical complexity on the grandest possible scale is paradoxically unified, univocal, eternal and harmonious. It is both sublime chaos and cosmic order simultaneously.

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