{"id":15114,"date":"2025-09-01T20:00:27","date_gmt":"2025-09-01T18:00:27","guid":{"rendered":"https:\/\/www.musikfabrik.eu\/?p=15114"},"modified":"2025-09-01T14:36:27","modified_gmt":"2025-09-01T12:36:27","slug":"27-juni-2009","status":"publish","type":"post","link":"https:\/\/www.musikfabrik.eu\/en\/blog\/27-juni-2009\/","title":{"rendered":"27. Juni 2009"},"content":{"rendered":"
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Aaron Cassidy<\/strong> \u2013 27. Juni 2009<\/em> (2020 – 21)
\nfor clarinet in E-flat<\/p>\n

Carl Rosman, clarinet<\/p>\n

Janet Sinica, video\/editing
\nStephan Schmidt, recording producer\/editing<\/p>\n

live recording of the world premiere at the concert Montagskonzert<\/a> \u201eIn Nomines\u201c on 2.10.2023.<\/p>\n <\/div>\r\n <\/div>\r\n <\/div>\r\n<\/div>\r\n

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programme note<\/h3> <\/div>\n <\/div>\n <\/div>\n<\/div>\n
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I have long been fascinated by Gerhard Richter\u2019s overpainted photographs. As a collection they are curious\u2014in some ways they are informal, spontaneous, casual, and even insubstantial; in other ways, they are violent, unforgiving, dismissive, even brutal. I\u2019ve written before about my interest in the gaps that these works reveal between different conceptions of material, between ambiguities of surface, image, representation, depth, and authorship, and the magnetic hovering between \u2018real\u2019 and \u2018depicted\u2019, between covering and revealing, between honesty and obfuscation, between destruction and rejuvenation.<\/p>\n

These paintings are miniatures\u2014simply snapshots, usually 10 x 15 cm\u2014but there is something about the mismatch of the scale of the overpainted layer with the scale of the bits of photographic images that peek through that gives an impression of something quite\u00a0massive<\/i>. The paint overwhelms, subsumes, obliterates. In the context of the proportions of the photo, the simple, smeared layers of paint often take on an extreme, gargantuan presence.<\/p>\n

For me, the tensions and ambiguities in these relationships between paint and photograph are magnified in the 180 or so of Richter\u2019s overpainted works that involve people, and in particular in those that involve faces. Some of the overpainted works\u2014the landscapes, for example, or the extensive\u00a0Grauwald\u00a0<\/i>series\u2014remain fairly abstract, and their tensions between layers, while fascinating, remain largely conceptual. But when the original subject of the underlying photograph is a face, a person, the magnitude of the collision becomes much more severe, more threatening, more ruthless.<\/p>\n

27. Juni 2009<\/i>\u00a0<\/a>(the titles are simply the date of execution, and in this particular case one can just about make out from the incongruous digital timestamp in the corner that the original photo is from 24 (2? 12?) 2000) is one of the most arresting images in this series. It is\u2014or was\u2014a portrait, a close-up of a face, cropped such that the face fills most of the left half of the image. Overtop of the face is a thick, pulled glob of bright red paint, again filling most of the left side of the canvas, so that only a small sliver of eye and eyebrow, and a tiny bit of the outline of the jawline, remain visible. The right side of the canvas is in some ways no less severe: what had been a distant, hazy, neutral blue-grey background is here covered with of streaks of red and green, less dense in texture and almost latticework in character, but in some ways the fact that this side reveals a bit more of the original image beneath makes the opacity of the thick red on the left even more devastating, more powerful, more unavoidable.<\/p>\n

But it is important, too, that it\u2019s clear that these two halves are both uncontrolled and unmanipulated\u2014their patterns, shapes, hues, and textures are all merely byproducts of simple, even clumsy gestures: quick, improvisational, indeterminate. (Apparently, Richter even sometimes pushes the photograph facedown into the paint, so he\u2019s not even aware quite what the result will be.)<\/p>\n

These overpainted photos of people have, for me, taken on an extra poignancy during the pandemic. The sense of erasure\u2014of people, of memories, of experiences, of environments, of interactions both serious and inconsequential\u2014has been overwhelming. One\u2019s experience of humanity is pulverised, garbled, distanced, forgotten, virtual. Faces are covered\u2014literally, of course, but also figuratively, emotionally, experientially.<\/p>\n

This new solo for E-flat clarinet is entangled in all of these thoughts. The mismatch of scale in material and form; the layering of materials as an act of violence; borrowed materials and the happenstance of smearing and pulling; surface as an obliteration of depth; something simultaneously small and massive; a sense of erasure, dislocation, or inaccessibility; the rehabilitation and reanimation of the mundane and inconsequential; the trace of the hand and the tangible reality of material; the sheer, unforgiving extremity of chance; the private, casual intimacy of a simple snapshot; memory.<\/p>\n

27. Juni 2009<\/strong>\u00a0was commissioned by Carl Rosman, an old friend who I have had the great joy to work with in lots of different contexts (as clarinetist, singer, conductor, student, teacher \u2026 ; and me as composer, conductor, record producer, teacher, student \u2026 ) pretty much consistently for nearly 20 years now. He has played\u2014and continues to play\u2014an outsized role in my musical life, a truth for which I\u2019m enormously grateful. The commission was enabled through support from the \u2018Corona-Hilfe\u2019 arts and culture funding package of the Ministry of Culture and Science of the State of North Rhein-Westphalia, and is dedicated to Carl on the occasion of his 50th birthday.<\/p>\n

Aaron Cassidy<\/em><\/a><\/p>\n <\/div>\r\n <\/div>\r\n <\/div>\r\n<\/div>\r\n","protected":false},"excerpt":{"rendered":"

Carl Rosman performs Aaron Cassidy’s “27. Juni 2009”. A live recording of the world premiere<\/p>\n","protected":false},"author":6,"featured_media":9245,"comment_status":"closed","ping_status":"closed","sticky":false,"template":"","format":"standard","meta":{"_acf_changed":false,"_relevanssi_hide_post":"","_relevanssi_hide_content":"","_relevanssi_pin_for_all":"","_relevanssi_pin_keywords":"","_relevanssi_unpin_keywords":"","_relevanssi_related_keywords":"","_relevanssi_related_include_ids":"","_relevanssi_related_exclude_ids":"","_relevanssi_related_no_append":"","_relevanssi_related_not_related":"","_relevanssi_related_posts":"","_relevanssi_noindex_reason":"","footnotes":""},"categories":[3],"tags":[120],"class_list":["post-15114","post","type-post","status-publish","format-standard","has-post-thumbnail","hentry","category-video","tag-montagskonzert-en"],"acf":[],"_links":{"self":[{"href":"https:\/\/www.musikfabrik.eu\/en\/wp-json\/wp\/v2\/posts\/15114","targetHints":{"allow":["GET"]}}],"collection":[{"href":"https:\/\/www.musikfabrik.eu\/en\/wp-json\/wp\/v2\/posts"}],"about":[{"href":"https:\/\/www.musikfabrik.eu\/en\/wp-json\/wp\/v2\/types\/post"}],"author":[{"embeddable":true,"href":"https:\/\/www.musikfabrik.eu\/en\/wp-json\/wp\/v2\/users\/6"}],"replies":[{"embeddable":true,"href":"https:\/\/www.musikfabrik.eu\/en\/wp-json\/wp\/v2\/comments?post=15114"}],"version-history":[{"count":3,"href":"https:\/\/www.musikfabrik.eu\/en\/wp-json\/wp\/v2\/posts\/15114\/revisions"}],"predecessor-version":[{"id":15118,"href":"https:\/\/www.musikfabrik.eu\/en\/wp-json\/wp\/v2\/posts\/15114\/revisions\/15118"}],"wp:featuredmedia":[{"embeddable":true,"href":"https:\/\/www.musikfabrik.eu\/en\/wp-json\/wp\/v2\/media\/9245"}],"wp:attachment":[{"href":"https:\/\/www.musikfabrik.eu\/en\/wp-json\/wp\/v2\/media?parent=15114"}],"wp:term":[{"taxonomy":"category","embeddable":true,"href":"https:\/\/www.musikfabrik.eu\/en\/wp-json\/wp\/v2\/categories?post=15114"},{"taxonomy":"post_tag","embeddable":true,"href":"https:\/\/www.musikfabrik.eu\/en\/wp-json\/wp\/v2\/tags?post=15114"}],"curies":[{"name":"wp","href":"https:\/\/api.w.org\/{rel}","templated":true}]}}