It was commissioned by Michael Gielen and the SWF Sinfonieorchester Baden-Baden as a “prologue” for a performance of Beethoven’s Ninth, meant to celebrate the 40th anniversary of the orchestra’s founding. In a rather scandalous move, the piece was then taken off the programme in the last minute. It was later premiered by the Sinfonie-Orchester des Saarländischen Rundfunks, together with the Ninth, on 19 December 1987. Gielen and the SWF orchestra later performed the piece at the Donaueschingen festival.
I may add, that Lachenmann claimed that one of the reasons that the premier was cancelled was that Staub uses fragments of Beethoven's ninth, as part of his attempts to disturb/demolish the reified and fossilized status that such masterpieces have gained (as he did with Mozart in Accanto), and that this sacreligeous "demolition" of the Ninth was too much for the concert organizers. I personally can hardly hear the references to the Ninth in this piece, though I'm sure they are buried there somewhere.
@@omriabram8976 "Staub (Dust) literally pulverizes Beethoven's Ninth Symphony into its emotional atoms. None of Beethoven's material is quoted in block form, as would be the fashion among the neo-Romantics [Wolfgang Rihm, Mauricio Kagel, Alfred Schnitke, Krzysztof Penderecki, George Rochberg, etc.]. Its elements remain just below the threshold of recognition." Michael Spitzer, A History of Emotion in Western Music: A Thousand Years from Chant to Pop, Oxford, 2020, p. 363. There are, however, recognizable references to the Ninth, such as at 5:52 (2nd movement's three-note motive), or 18:03 and19:00 (1st movement's short-long motive), and many others, such as crescendos that pulverize certain phrases from the symphony's first movement.
Bravo bisous tres beau M
One of his greatest orchestral composition along with Ausklang and Tableau.
It was commissioned by Michael Gielen and the SWF Sinfonieorchester Baden-Baden as a “prologue” for a performance of Beethoven’s Ninth, meant to celebrate the 40th anniversary of the orchestra’s founding. In a rather scandalous move, the piece was then taken off the programme in the last minute. It was later premiered by the Sinfonie-Orchester des Saarländischen Rundfunks, together with the Ninth, on 19 December 1987. Gielen and the SWF orchestra later performed the piece at the Donaueschingen festival.
I may add, that Lachenmann claimed that one of the reasons that the premier was cancelled was that Staub uses fragments of Beethoven's ninth, as part of his attempts to disturb/demolish the reified and fossilized status that such masterpieces have gained (as he did with Mozart in Accanto), and that this sacreligeous "demolition" of the Ninth was too much for the concert organizers. I personally can hardly hear the references to the Ninth in this piece, though I'm sure they are buried there somewhere.
@@omriabram8976 Great comment.
By the way, the final premiere was conducted by Myung-Whun Chung. The recording was issued in the series "Musik in Deutschland 1950-2000".
@@omriabram8976 "Staub (Dust) literally pulverizes Beethoven's Ninth Symphony into its emotional atoms. None of Beethoven's material is quoted in block form, as would be the fashion among the neo-Romantics [Wolfgang Rihm, Mauricio Kagel, Alfred Schnitke,
Krzysztof Penderecki, George Rochberg, etc.]. Its elements remain just below the threshold of recognition." Michael Spitzer, A History of Emotion in Western Music: A Thousand Years from Chant to Pop, Oxford, 2020, p. 363. There are, however, recognizable references to the Ninth, such as at 5:52 (2nd movement's three-note motive), or 18:03 and19:00 (1st movement's short-long motive), and many others, such as crescendos that pulverize certain phrases from the symphony's first movement.
I didn´t know this one. Thanks for uploading!
Thank you for uploading.
I have a doubt. Is Myung-whun chun the conductor with the radio symphony orchestra of Saarbrücken ?
@@sergigrauviola6500 Yes if I'm not mistaken.
Favorite part: 4:46