Roman Haubenstock-Ramati (1919-1994)

Roman Haubenstock-Ramati (né le 27 février 1919 à Cracovie et mort le 3 mars 1994 à Vienne) est un rédacteur musical, professeur de musique et compositeur de musique contemporaine à Cracovie, Tel Aviv et Vienne.

De 1937 à 1940, Haubenstock-Ramati a étudié la composition, la théorie musicale, le violon et la philosophie à Cracovie et à l'Université de Lemberg. Il était l'élève de Artur Malawski et de Józef Koffler.
De 1947 jusqu'à 1950 il était rédacteur en chef de la rubrique musicale à la radio de Cracovie. À partir de 1950 il a été professeur à l'Académie de musique de Tel Aviv où il a dirigé aussi la construction d'une bibliothèque musicale. En 1957 il a bénéficié d'une bourse d'études de 6 mois pour l'Académie de musique concrète.
À partir de 1958 il a été rédacteur (pour la Musique contemporaine) aux Éditions Universal à Vienne puis maître de conférences invité et responsable de séminaires de compositions à Tel Aviv, Stockholm, Darmstadt, Bilthoven (aux Pays-Bas) et Buenos Aires et a exercé comme professeur à l'école supérieure de musique de Vienne à partir de 1973.


Œuvres

String Trio No. 1 Ricercari (1948)
Bénédictions (Blessings) for soprano (vocals) and nine instruments (1951)
Recitativo ed aria (Konzert für Cembalo und Orchester) (1954)
Studie in Form, graphic score (1954)
Papageno's Pocket-Size, concerto for glockenspiel and orchestra (1956)
Les Symphonies de timbres for orchestra (1957)
Chants et prismes for orchestra (1957)
Exerque pour une symphonie for tape (1957)
Passacaille for tape (1957)
Chanson populaire for tape (1957)
L'amen de verre for tape (1957)
Ständchen sur le nom de Heinrich Strobel for orchestra (1958)
Petite musique de nuit, mobile for orchestra (1958)
Séquences [version 1] for violin and orchestra (1958)
Interpolation, mobile for flute (one, two or three flutes or tape recordings) (1958)
Liaisons, mobile for vibraphone and marimbaphone with one performer and tape or for two performers (1958)
Séquences [version 2] for violin and chamber orchestra (1958–88)
Décisions, ten graphic scores for undefined sound sources (1959–71)
Jeux 6, mobile for six percussionists (1960)
Credentials or "Think, Think Lucky" for voice (speaker) and eight players (1960)
Mobile for Shakespeare for voice and six players (1960)
Twice for Cathy for voice and tape (1960)
Prosa-Texte [version 1] for four reciting choirs (1962)
Prosa-Texte [version 2] for two reciting choirs and tape (1962)
Prosa-Texte [version 3] for reciting choir and tape (1962)
Vermutungen über ein dunkles Haus for three orchestras, two of which are pre-recorded (1962–63)
Amerika, opera in two parts after Franz Kafka's novel (1962–64)
Jeux 2, mobile for two percussionists (1965)
Rounds, for six performers (1965)
Multiple 1 for two string instruments ad libitum (1965)
Multiple 2 for three string instruments, two woodwind instruments and two brass instruments ad libitum (1965)
Multiple 3 for two string instruments, two woodwind instruments and two brass instruments ad libitum (1965)
Multiple 4 for one woodwind instrument and one brass instrument ad libitum (1965)
Multiple 5 for one string instrument and one woodwind instrument ad libitum (1965)
Multiple 6 for one string instrument and one brass instrument ad libitum (1965)
Klavierstücke I for piano (1965)
Alone 1, graphic score for undefined low-pitched instrument and percussion ad libitum (1965)
Jeux 4, mobile for four percussionists (1966)
Tableau I for orchestra (1967)
Psalm for orchestra (1967)
Symphonie 'K' for orchestra (1967)
Comédie, anti-opera in one act after Samuel Beckett (1967)
Catch 1 for one or two harpsichords (1968)
Catch 2 for one or two pianos (1968)
Divertimento, composer's text collage after Plato and others, for actors, dancers, and (or) mimes, two percussionists, tape or live *electronics ad libitum (1968)
Alone 2, graphic score for ensemble (1969)
Batterie, graphic score for percussion (1969)
Describe for voice and piano (1969)
Tableau II for orchestra (1970)
Ludus musicalis, twelve models for group of young musicians and for school orchestras (1970)
Madrigal for a four-part mixed choir a cappella (1970)
Tableau III for orchestra (1971)
Multiple 7 for trumpet and cello (1971)
Konstellationen – mixed media, 25 sheets of graphic score (1971)
In memoriam Igor Stravinsky, graphic score for undefined instrument (1971)
Chorographie I for three a cappella choirs (1971)
Act-if, graphic score for ensemble (1971)
Discours, graphic score for guitar and voice (speaker) (1972)
Duo, graphic score for guitar and percussion (1972)
Kreise, graphic score for voice (speaker) and percussion (1972)
La sonnambula, graphic score for vocals (speaker) and guitar ad libitum (1972)
Frame, graphic score for guitar solo (1972)
Kammermusik for orchestra (1972)
Poetics I für James Joyce. The Moon Is Still Blue, graphic score for ensemble (1972)
Poetics II für James Joyce. Speload Mc, graphic score for ensemble (1972)
Solo, graphic score for any string instrument (1972)
Concerto a tre for piano, trombone, and percussion (1973)
String Quartet No. 1 (1973)
Hexachord 1 and 2 for one or two guitars (1973)
Shapes 1 for pipe organ (1973)
Shapes 2 for pipe organ, piano, harpsichord, and celesta for one, two, or four performers (1973)
Pour piano, graphic score (1973)
Sonans, graphic score for vocal ensemble and tape or live electronics ad libitum (1973)
Musik für 12 Instrumente (1974)
Concerto for Strings (1975)
Cello Sonata (1975)
Endless for seven performers (1975)
Chordophonie 1, mobile for harpsichord (1976)
Chordophonie 2, mobile for clavichord (1976)
Symphonien for orchestra (1977)
String Quartet No. 2 (1977)
Song for percussion (1978)
Self I for bass clarinet (or clarinet) and live electronics (1978)
Self II for alto saxophone and live electronics (1978)
Polyphonien for one-two orchestras or orchestra with tape accompaniment (1978)
Ulysses. Scenen einer Wanderung, ballet – twelve tableaus for tape (1979)
Nocturnes I for orchestra (1981)
Nocturnes II for orchestra (1982)
Ohne Titel, graphic score for pipe organ (1983)
Piano Sonata (1983)
Musik für zwei Klaviere (1983–84)
Cantando for six performers (1984)
Mirrors/Miroirs I, mobile for sixteen pianos (1984)
Mirrors/Miroirs II, mobile for eight pianos (1984)
Mirrors/Miroirs III, mobile for six pianos (1984)
Schlossbergmusik, sound installation (1984)
Nocturnes III for orchestra (1985)
String Trio No. 2 (1985)
Enchaîné for saxophone quartet (1985)
Für Kandinsky, trio for flute, oboe, and clarinet (1985)
Sottovoce for chamber orchestra (1986)
Trio (Enchaîné II) for flute, oboe, and piano (1986)
Imaginaire for orchestra (1986–87)
Zeichen für S.B., graphic score for soloists and plucked string instruments' orchestra (1987)
Beaubourg musique for chamber orchestra (1988)
Cathédrale I for harp solo (1988)
Cathédrale II, mobile for two to sixteen harps (1988)
Extensions for one or two marimbas (1988)
For Boguslaw Schaeffer for flutes, percussion, keyboard instrument, and computer (1989)
Deux préludes for guitar (1989)
Invocations for chamber orchestra (1990)
Pluriel [version 1], mobile for two violins, viola, and cello (1991)
Pluriel [version 2], mobile for violin, viola, and cello (1991)
Pluriel [version 3], mobile for violin and viola (1991)
Pluriel [version 4], mobile for violin and cello (1991)
Pluriel [version 5], mobile for viola and cello (1991)
Tenebrae for tape (1991)
Tenebrae II for tape and piano (1991)
Adagio I for tape (1991)
Adagio II for saxophone and tape (1991)
Morendo for tape (1991)
Morendo II for flute and tape (1991)
Unruhiges Wohnen, ballet (1991–92)
Nouvoletta I, mobile for flute, piano, percussion, and cello (1992)
Nouvoletta II, mobile for flute, piano, percussion, and cello (1992)
Nouvoletta III, mobile for flute, harp, percussion, and celesta (or harpsichord) (1992)
Nouvoletta IV, mobile na for flute, percussion, cello, and celesta (or harpsichord) (1992)
Nouvoletta V, mobile for flute, cello, and percussion (1992)
Nouvoletta VI, mobile for flute, percussion, and celesta (or harpsichord) (1992)
Nouvoletta VII, mobile for cello, percussion, and celesta (or harpsichord) (1992)
Équilibre for chamber ensemble (1993)




https://www.youtube.com/watch?v=Yh9otOIgGKc

Même pas pour Icare

Je crois, Joachim, que tu as bien cerné mes limites. Je n'aime pas trop les expériences musicales ou sonores qui jouent sur mes nerfs en me faisant espérer un rebondissement ou un aboutissement qui n'arrive jamais. Un passage de cet acabit au sein d'une oeuvre peut m'être attractif mais tout un morceau construit ainsi qui ne débouche sur rien, sur le néant c'est le cas de le dire, ça m'aide plutôt à regarder les mouches voler. Le second mouvement qui se limite au trio à cordes est certes plus animé mais il n'en ressort rien de suffisamment particulier qui retienne mon attention. C'est trop haché et aride pour me transporter. Le troisième mouvement pour même effectif que le second ne m'a pas convaincu non plus, un côté systématique qui m'apparaît trop comme un "tic obligé" dans une certaine musique contemporaine. A un moment, j'ai envie que la musique se décoince, se pervertisse, se lâche, se libère du côté constipé qui la plombe.

Un point positif, il n'y a pas d'applaudissements entre les mouvements.