Page 57 - Composing Processes and Artistic Agency

46 The topography of composing work

As critical participants in the music sector, however, many composers
notice that music-theory discourses not only discuss certain topics, but are
generally also instrumental in power relationships: they serve particular
struggles for positioning and legitimisation. One composer observes, “I don’t
want to sound arrogant, but I really have to say that I’ve found music theory
pretty boring for a long time. […] Because I think music is almost always
about material concepts in some way, and about how someone deals with his
material, etc.” Adifferent interviewee mentions her interest in “certain sensuous
qualities, but then in Darmstadt they [other composers at the international
summer courses for New Music] would probably assume I was a romantic,
and I’m really not keen on that idea.”
As previously mentioned, composers write texts as well. Only a few com-
posers might publish theoretical texts, but all of them occasionally write short
texts to accompany programmes or CDs. The purpose of the publication
determines the style of writing and content. Katharina Klement says that her
contributions to programmes “sometimes evolve all by themselves. Sometimes
I add why the piece has that particular title. There usually is a reason, at least
in my case. It often points to something in the content or structure. I can
explain that, and I think that’s good.” But not all composers like to assume
the role of author, as the following excerpt from an interview shows:

I can only speak in technical terms. […] Of course I can write, but then
these sentences come out that, well, [breathes out deeply] who’s it for?
Obviously, sometimes the audience likes to hear composers talk about
their piece, and I think it’s okay for composers to try and make their
work accessible. But what I find strange is when people say a piece offers
resistance or something, against politics.

This composer evidently feels the pressure from the commissioning party or
audience, expecting her to justify herself. Not everyone shares this feeling,
however. One interviewee remarked on the purposefulness of programme
texts and concluded:

I position myself very clearly to show what I’m about. In radio interviews
as well, et cetera. Of course I always say the same things. When I say,
okay, so-and-so interests me the most, I know what effect that’ll have. Of
course you can say, it’s a fad. But everything you say assumes a certain
label. I question my motives too. Is it still authentic, is it still about the
content? As long as that’s the case, I’ll keep saying things very clearly. […]
But even that’s a bit of a reaction. Because I know that in the new form
of music that became the fashion after 1945 or so, you always have to
have ten pages of introduction, so you can understand it, with quotes by
Adorno and so on and so forth. That’s always got on my nerves, right
from the start. […] I suppose I could stop giving interviews, say nothing
else, just the bare work. But that’s the worst fad of all.