Bernardo Kuczer

Bernardo Mario Kuczer ( born April 30 1955 in Buenos Aires ) is an Argentine composer, music theorist and architect.

• 2.1 Press reviews

Biography

Argentina

Until the age of about 20 years, Bernardo Mario Kuczer worked as a rock musician, composer and guitarist in Buenos Aires and also composed for the theater. At the same time he studied architecture, graduating in 1978 with a diploma. By studying classical guitar he came to classical music. He studied several years of harmony and musical analysis and later Renaissance counterpoint. He became a member of an interdisciplinary research group on music and worked there together with psychologists, biologists, physicians, and musicologists.

In 1979, he publicly presented a thesis with their own ideas about " the building blocks of music, the dynamic interaction and a special, resulting " energy form ", which determines the micro-and macroscopic articulation of the musical flow and allows ". He called the first thesis " La forma natural de la Música " ( " The natural ways of music" ), then " The New Connections" (1983 ) and later " Música sin el factor Humano " ( "Music without the human factor " ).

Europe

1980 Kuczer traveled to London to study viola da gamba, but what he gave up a short time later to devote himself to composition. His first ensemble work ( " ... even the loudest sky", saxophone quartet, 1981 ) was developed by the British Society for the Promotion of New Music ( " Society for the Promotion of New Music ") for the " Composers' Weekend " 1981 selected in London.

In 1983 he came to Freiburg to study at the Music Academy there with Brian Ferneyhough composition, but very soon felt the need to continue his path in the music alone.

In 1984 he took part in the Darmstadt Summer Courses in which several pieces of his tape - cycle Civilización premiered o Barbarie. For this work was Kuczer the first Latin American composer awarded the Kranichsteiner Music Prize.

1986, for the following event of the Darmstadt summer courses, he was invited to perform a second concert of works from his Tonbandyzklus.

Civilización o Barbarie was by Klaus Huber, one of the three judges proposed as personal choice of the jury for the World Music Days of the International Society for Contemporary Music, held in Cologne in 1987.

• In 1990, Kuczer Fellow of the Südwestfunk Heinrich Strobel Foundation.

In 1999 he retired from active music and concert business. Since 2000 he has worked almost exclusively with computers, plans, writes and thereby develops its own computer programs. These programs are based on his own hypotheses, models and theoretical ideas about harmony, rhythm, sound, form and " musical flow " and be used for their further research. With their help, he has also produced his later digital works.

Kuczer incidentally was also active in other artistic fields. He has created more than 300 paintings and sculptures and also designed his own furniture. As a writer he has written about 150 poems and two books, all of which were not previously published. The title of his first book is " Salva de Guerra " ( contra La Música ) ( "war bursts " [ to the music ] ). He turned and set to music also has its own documentary titled " Vida? ( por un Espacio Poetico o una Poesía del Espacio - Tiempo ), una documentación ".

Work and reception

Kuczers musical oeuvre includes more than 72 major works, with about a hundred individually named pieces from different areas of music such as instrumental music, tape music, electroacoustic music, computer music and algorithmic computer music.

More than 50 of his compositions have not been performed to this day. Several of his instrumental works were long and are still considered unplayable. His saxophone quartet from 1981 was initially classified as unplayable and experienced a proper premiere until 1994. Some works, however, were performed and broadcast in various European cities. Examples:

• London: " Composers' Weekend", 1981
• Darmstadt: Darmstadt Summer Courses, 1984 and 1986
• Como: " 18 ° festival internazionale, autunno Musicale " ( Musical Autumn ), 1984
• Milan: " Musica del nostro tempo", 1987
• Freiburg im Breisgau: "Horizons series", 1984
• Paris: " Perspectives du XXe siècle " ( carte blanche to Harry Halbreich ), 1985
• Stockholm: " International Festival of Electronic Music", 1985
• Freiburg: " Aventure Freiburg ", 1987
• Mönchengladbach: " Ensemblia Festival ", 1987
• Cologne: World Music Days of the ISCM, 1987
• Frankfurt: Hessischer Rundfunk, 1988
• Witten: Witten Days for New Music, 1994
• Basel: ISCM, 1995
• Piteå Piteå University, 1995
• Bremen: Festival "Transit" places / non- places, 1999
• Montreal: World Saxophone Congress, 2000

Press reviews

On 2 May 1996 Fara C. wrote in the world music magazine World:

The Belgian musicologist Harry Halbreich wrote in the monthly magazine " Le Monde de la musique " No. 72 of November 1984:

List of Works

• Articulaciones II, (1980 ), for two alto recorders ( or two identical instruments ) tuned a quarter tone apart
• Seis estudios sobre la disonancia simple y la mixtura de lenguas, (1980 ) for choir
• Huella, 1981, for Flute
• Dualidades, 1981, for Piano
• Drei'h, 1981, for clarinet
• Even ... the loudest sky, 1981, for saxophone quartet
• A gent 's Arguum, 1982, for viola
• La Distancia IV (un fragmento ), 1982-83, for flute, bass clarinet, cello and piano

• Towards a New Brutality, 1983, nine studies Study N ° 1: ( Historias Naturales ), for percussion and ( digital ) sound space (*)
• Study N º 2: ( Soul - location ), for voice in the sound room (*)
• Study N º 3: (La vuelta al día Ia), for percussion (two Roto - toms ) (*)
• Study N ° 4: ( memorias de un pasado por suceder ... ), ( 1983), for two percussionists, voice, tape and electronics
• Study N ° 5: (La vuelta al día II: de Rodin's Natura ), for space - drums (*)
• Study N º 6 & 7: (Tween dances ) N ° 6 A dance, for percussion and ( digital ) sound space (*)
• N º 6 dance B, for percussion and ( digital ) sound space (*)

(*) Revised in 2012, now only as a digital version of existent

• Civilización o Barbarie (1984 ): a cycle with the following 18 independent tape - pieces: Peripeteia II, (1984 ), tape music
• Peripeteia III, (1984 ), tape music
• Peripeteia IV, (1984 ), tape music
• Peripeteia V, (1984 ), tape music
• Peripeteia VI, (1984 ), tape music
• Peripeteia VII: Iña'K, (1984 ), tape music
• Peripeteia VIII: Periplo, (1984 ), tape music
• Une mémoire la vie (1984 ), tape music
• Cri de la mémoire fermée, (1984 ), tape music
• Final, ou la mémoire pulsante, (1984 ), tape music
• Contre- rime, (1984 ), tape music
• Him'l, (1984 ), tape music
• Dream -line (1984 ), tape music
• One other desert, (1984 ), tape music
• Escenas Miró (1984 ), tape music
• Ejercicio de aire, (1984 ), tape music
• The black hole, (1984 ), tape music
• Silence ... and next to it, (1984 ), tape music

• K'tedral, ( 1984-85 ) for viola
• Formas y fluidos II -VII, (1985 ) for piano
• Shape Memory (1986 ), tape music
• Memory - form ( 1986), tape music
• In search of the Engram, ( 1986-88 ( 88-90 ) ), for wind quintet

• Time blow - bridges ( decomposed ) beat, ( 1991-2001 ), a cycle with the following eight pieces (with the possible electronic amplification and processing): FORM I, ( 1991-98 ), for cello and 1 or 2 pianos
• FORM II ( 1991-98 ), for viola, cello and 1 or 2 pianos
• FORM III ( 1991-98 ), for viola and piano
• FORM IV ( 1991-98 ), for viola, cello and double ( 1 or ) 2 Pianos
• Zigzag time ( 1991-97 ), for violin
• Time-space Zerre II ( 1991-99 ), for cello
• Time-space Zerre III ( 1991-99 ), for viola and cello
• Objectives umzingelnd, ( 2000-01 ), for violin, viola and cello ( String Trio )

• Cosmografia - Panopticum Armonicum, ( 2002-04 ), for piano
• Sinfines, ( 2002-04 ), for piano, piano four hands or two pianos and five
• La vuelta al día Ic, (1983, 2000 & 2006), (Computer-generated versions and scores ) for 2,3,4,6 or 8 drummer
• Resistencia de la materia, ( 2011-12 ), a cycle of five digital works: Tungsteno, ( 2011-12 ), Digital Music
• Casi Ayer ( 2011-12 ), Digital Music
• Siglo XX: Un Respiro, ( 2011-12 ), Digital Music
• A- Sintaxis III ( 2011-12 ), Digital Music
• Siglo XX, Pequeño Epitafio N º 2: Esmeril, ( 2011-12 ), Digital Music

• Trenzados americanos, ( 2011-12 ), Digital Music
• Malambo, ( 2011-12 ), Digital Music
• Drama de amar, ( 2011-12 ), for digital drumkit, Digital Music

• Sendas negras, (2012), for percussion ensemble

• Swarm behavior I, (1986-2012), Digital Music
• Swarm Behavior II (1986-2012), Digital Music
• Swarm Behavior III (1986-2012), Digital Music

• On growth and thrive, (2012 ), Digital Music

• Maximos y Mínimos ( en un Nano Cosmos ), ( 2012-2013), a collection of 27 digital works

• Música de cámara N º 1 ( algo oscura ), ( 2013), Digital Music
• Música de cámara N º 2 ( hubo donde fuego ), ( 2013), Digital Music
• Juego de engranajes, (2013 ), Digital Music
• Gris ardiente, (2013 ), Digital Music

• Tres Hibridaciones (2013 ), a group of three independent digital works Canticum Sacrum Non, (2013 ), Digital Music
• Formas y classy melancólicas, (2013 ), Digital Music

• Los Pasos Perdido, (2013 ), Digital Music