1983 Aarhus

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Aarhus

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Locations: Aarhus

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Description
Description

A total of 619 works were submitted in the call for scores for the 1983 ISCM World Music Days in Aarhus, of which 154 came from national sections of the ISCM.

The cover of the official Program Book for the 1983 ISCM World Music Days in Aarhus

From contemporaneous reviews

“Ein Musikfest der IGNM kann nichts anderes bieten als das, was gerade komponiert worden ist. Und wenn die Situation der Neuen Musik so erscheint, daß man sie wohlwollend als pluralistisch und unfreundlich als diffus kennzeichnen kann, ist von einer Präsentation, die unparteilich sein soll, und es in der Regel auch ist, nicht zu erwarten, daß sie sich in eine Formel pressen läßt. Das Prinzip, nicht nur eine Gesamtjury auswählen zu lassen, sondern einzelnen Juroren die Verantwortung für bestimmte Konzerte zu übertragen, hat sich im großen und ganzen durchaus bewährt. Daß skandinavische Komponisten in nicht geringer Anzahl vertreten waren, war nur gerecht angesichts der Tatsache, daß die dänische Sektion nahezu in letzter Minute anstelle der Spanier einsprang und das Musikfest in Aarhus mit unauffälliger Perfektion arrangiert hat.”

(“A music festival of the ISCM cannot offer anything other than what has just been composed. And if the situation of new music appears in such a way that it can be benevolently characterized as pluralistic and uncharitably as diffuse, a presentation that is supposed to be impartial, and usually is, cannot be expected to be pressed into a formula. The principle of not only having an overall jury select, but of giving individual jurors responsibility for specific concerts has, on the whole, proved quite successful. The fact that Scandinavian composers were represented in no small number was only fair in view of the fact that the Danish section stepped in almost at the last minute in place of the Spaniards and
arranged the music festival in Aarhus with inconspicuous perfection.”)

–Sigrid Wiesmann, “IGNM-Weltmusiktage in Aarhus,”
Österreichische Musikzeitschrift 39, (January 1984), p. 39.
[in German, English translation assisted by Google translate and www.DeepL.com/Translator]

“Denne musikfest, der viste sig at være en underlig blanding af en købmands-messe og en videnskabelig konference, var da også … en fortræffelig anledning til at søge overblik over et kunstnerisk felt, som jeg fornemmer fordrer min gen vakte opmærksomhed. Jeg har ellers i et årti haft svært ved at synes som Poul Borum, at tungen ud af vinduet også er en måde at få frisk luft på. Tilbage i 60’erne, da j eg var en flittigere koncertgænger, føltes de ting, man blev præsenteret for, mere direkte, omsættelige og langt friskere. De gav en vitalforøgelse, hvor nutidens stille, akademiske kontemplationer minder om den slags terapi, der giver problemfri orgasmer, underdrejer begæret og siger »nu vil vi gerne sove…«.”

(“This music festival, which turned out to be a strange mixture of a merchant’s fair and a scientific conference, was … an excellent opportunity to seek an overview of an artistic field that I feel requires my close attention. For a decade I have found it difficult to agree with Poul Borum that sticking one’s tongue out of the window is also a way of getting fresh air. Back in the 60s, when I was a more frequent concertgoer, the things you were presented with felt more direct, transferable and far fresher. They provided a vitality boost where today’s quiet, academic contemplations resemble the kind of therapy that produces trouble-free orgasms, quells desire, and says ‘now we want to sleep…’.”)

— Erik Fæster Olesen, “En kamæleon på et spejl” (“A Chameleon on a Mirror”),
DMT Årgang 58 Nr. 2 (14 November 1983), p. 69.
[In Danish, English translation assisted by Google translate and www.DeepL.com/Translator].

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