Schlagquartett Köln



















Mariano Etkin (*1943, Buenos Aires, Argentina)

Studies with Ernesto Epstein and Guillermo Grätzer. In 1965 he was awarded the bi-annual Instituto Di Tella Fellowship for Advanced Musical Studies in Buenos Aires, studying with Earle Brown, Gerardo Gandini, Alberto Ginastera, Maurice Le Roux and Iannis Xenakis. In 1968/69, with a Dutch Government Fellowship, studies of Electronic Music with Gottfried König at the Utrecht State University. In 1969/70, with a fellowship of the Organization of American States, studies of Composition with Luciano Berio at the Juilliard School of Music, New York City.
Mariano Etkin has received commisions from Radio Bremen, Radio Deutschlandfunk, Ensemble Aventure and Freiburger Schlagzeug Ensemble (Germany); Composers/Performers Group of New York, Rümlingen Festival (Switzerland) and the Municipality of Buenos Aires. Awards include the 1975 "Juan Carlos Paz" Composition Prize of the National Foundation for the Arts and the 1967 Composition Prize of the Municipality of Buenos Aires, both in Argentina, as well as the Second Prize in the 6th International Seminar for Composers (Boswil, Switzerland, 1980).
His works are played in most Latin-American countries, Canada, U.S.A. and Europe at major Festivals and Contemporary Music Series, among others the World Music Days 1984 (Toronto), 1989 (Amsterdam), 1990 (Oslo) and 1995 (Essen) sponsored by the International Society of Contemporary Music, Musica Nova Series, Leipzig (1995), NovAntiqua Köln (1997); "ECLAT Festival", Stuttgart, (1998), Neue Musik Rümlingen, Switzerland (1997, 1999), "Sonidos de las Américas" Festival, New York, USA (1998), Festival Bludenzer Tage Zeitgemässer Musik, Bludenz, Austria, 2001, Latin-American Festivals of Mexico (1990), La Habana (1990), Caracas (1991, 1993, 1998).
Guest Professor at the Koninklijk Conservatorium Den Haag, Holland (1989) and Guest Lecturer at the Ferienkurse für Neue Musik Darmstadt, Germany (1992). Inaugural Professor of the "Simón Bolívar" Latin-American Chair of Composition, Caracas, Venezuela (1991). Etkin has given Seminars on his music, among other institutions, at the Staatliche Hochschule für Musik und Darstellende Kunst, Stuttgart, Germany (1989), the Musikhögskolan, Stockholm, Sweden (1989), the Folkwang Musikhochschule, Essen, Germany (1994), the Hochschule der Künste, Berlin (1997), the Konsevatorium für Musik, Biel, Switzerland (1997) and in several Latin American countries: Brasil, Mexico, Colombia, Chile, Uruguay, Peru. Invited as Guest of the Akademie Schloss Solitude, Stuttgart, Germany (1998).
Juror for the National Prize in Composition in Argentina (1994) and Colombia (1994 and 1995). Juror for the ISCM "World Music Days" 1997, Seoul, Corea.
As a writer, Etkin has published essays in periodicals of Germany (MusikTexte, Köln), Canada (Dérives, Montreal), Mexico (Pauta, Mexico DF) and Argentina (Lulú, Buenos Aires).
Mariano Etkin has taught at various universities in Argentina (Buenos Aires, Tucumán, Río Cuarto, Littoral). In 1977, 1980 and 1981 was Visiting Professor at McGill University (Montréal, Canada) teaching Composition, Theory, Analysis and Contemporary Music Ensemble. From 1982 through 1985 was appointed as Professor of Composition, Theory, Analysis and Contemporary Music Ensemble at Wilfrid Laurier University (Waterloo, Ontario, Canada).
Current Main Professor of Composition and Musical Analysis and Director of a Research Project on Analysis of New Music at the National University of La Plata, Argentina.

Taltal 1993

is the name of a small village in Northern Chile, on the Pacific coast. It is an extremely tranquil place where the most perceptible sounds are those of the sea and the shore-birds. Never rains and the air is extremely dry: it is the desert reaching the coast.
The precise meaning of the word Taltal is not known. One hypothesis associates this pre-hispanic vocable with a predatory bird descending on earth, may be a kind of raven. I was fascinated by the strange combination of this uncertain ethimology, the percussive quality of the word and the quietness of the area in which I was composing the piece.
Extinctions, resonances, velocities and timbres were the main compositional concerns. Each musician plays a Bass Drum and a large Tam-Tam.
It is worthwhile saying that Taltal has nothing to do with program music.
In reference to other hypothetical remarks to be made in order to get a knowledge about it, let us quote Elias Canetti: "A demolishing thought: that perhaps there is nothing to know; that all falseness arises only because we want to know it".















  von HYPERWERK 2002