Magazine Article, listening on the edge

Type:Press (pdf)

This extended article by composer Martin Arnold appeared in the Spring 2004 issue of musicworks. Arnold, a former student of Komorous, describes important biographical elements of Komorous’s early compositional career in his native city of Prague and attempts, using the composer’s own words and the analyses of John Rajchman, to explain Komorous’s philosophical approach to music creation and his compositional style. Arnold makes a case for considering Komorous’s creative work in light of his dedication to the principles of ‘driving things to the edge’ and the exploration of ambiguity and absurdity. He describes Komorous’s ‘aesthetic of wonder’ not as a realization of rational thought, but in the sense of the excitement of the unknown. Arnold also reflects on the importance of the listener in Komorous’s music – from the composer’s consideration for the listener in his creations to opportunities that are available for the listener in receiving his music.

Martin incorporates excerpts from interviews on Komorous with composers John Abram and Paul Steenhuisen. Samples of Komorous’s Ut infra, Chanson, and Peroxide-blond scores are reproduced in the article, a photograph of the composer holding a large garden gnome, a list of articles written on Komorous, and a discography of his works recorded to date compliment the article. Compositions mentioned in the article include: Ut infra, Chanson, Peroxide-blond (from Preludes for Thirteen Early Instruments), Gloomy Grace and Dame’s Rocket.

Credits:Arnold, Martin; musicworks #88, 2004.
Subject:Rudolf Komorous
Related People:Rudolf KomorousRudolf Komorous
Created Date2004
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